Roadhouse- Show #50- Limousines, Hot New Stuff, Drivers ^^Play^^
Drivin’ To The Poorhouse In A Limousine- Joe Ely
(Buy at Amazon)
Country-rock singer/songwriter/guitarist Joe Ely was born Earle R. Ely on February 9, 1947, in
Amarillo, Texas. His family had worked for the Rock Island Line railroad dating back to the start of
the century. When he was 12, the family moved to Lubbock, Texas, where his father ran a used
clothing store. Inspired by seeing Jerry Lee Lewis perform when he was a child, Ely aspired to a
musical career, and he briefly took violin and steel guitar lessons before turning to the guitar.
His father died when he was 14, and his mother was institutionalized for a year due to the trauma,
so he and his brother were forced to stay with relatives in other cities. When the family came back
together in Lubbock, he took a job washing dishes to bring in some … » Read more
-William Ruhlmann, AllMusic.com
The standard-issue live album usually works as a “greatest-hits” disc with some crowd noise in the
background, but since Joe Ely has never been blessed with hit records in the traditional sense, for
1990′s Live at Liberty Lunch he was able to pull from the cream of his catalog rather than playing
favorites, and thanks to his well-documented strength as a live performer, he was able to turn all
13 numbers into crowd-pleasers no matter how well (or little) known they were. Recorded during a
two-night stand at the fabled Austin, TX venue, Live at Liberty Lunch lacks the fire and intensity
of Ely’s superb 1980 concert set Live Shots, but the ten years that separate the two albums isn’t
all to Live at Liberty Lunch’s disadvantage. While the earlier album may have drawn most of its
songs from three of Ely’s best albums, here he’s able to rescue some superb songs that got lost in
the shuffle (“Cool Rockin’ Loretta” and “She Gotta Get the Gettin’” prove there was some fine
material on Hi-Res despite the wrong-headed production), and the otherwise unavailable “Drivin’ to
the Poorhouse in a Limousine” is one of Ely’s best rockers. Ely’s band is in sterling form here
(especially David Grissom on guitar and Davis McLarty on drums), and if the tone of this album is
more mature and subdued than the raucous Live Shots, Ely is more than up to the challenge of making
the songs communicate, and from the first verse of “Me and Billy the Kid,” he has the audience in
the palm of his hand. In short, this preserves a truly gifted writer and performer having a great
night in front of an appreciative audience in his hometown, and in this case, that’s the formula for
a superior live disc.
-Mark Deming, AllMusic.com
Baby Took A Limo To Memphis- Guy Clark
Guy Clark doesn’t just write songs, he crafts them with the kind of hands-on care and respect that a
master carpenter (a favorite image of his) would have when faced with a stack of rare hardwood.
Clark works slowly and with strict attention to detail — his output has been sparse since he first
signed to RCA in the early ’70s — but he has produced an impressive collection of timeless gems,
leaving very little waste behind. His albums have never met much commercial success, but the
emotional level of his work consistently transcends sales figures and musical genres. He remains the
kind of songwriter whom young artists study and seasoned writers (and listeners) admire.
Clark was born in the West Texas town of Monahans, where he was raised mostly by his grandmother
(his mother worked and his father was … » Read more
-Kurt Wolff, AllMusic.com
Long Black Limousine- Bobby Bare
Bobby Bare’s story is nearly as fascinating as his music. Bare’s mother died when he was five. His father couldn’t earn enough money to feed his children, forcing the family to split up. Bare was working on a farm by the time he was 15 years old, later working in factories and selling ice cream to support himself. Building his first guitar, he began playing music in his late teens, performing with a local Ohio band in Springfield.
In the late ’50s, he moved out to Los Angeles. Bare’s first appearance on record was in 1958, as he recorded his own talking blues “The All American Boy,” which was credited to Bill Parsons. A number of labels refused the record before the Ohio-based … » Read more
-Stephen Thomas Erlewine, AllMusic.com
Cadillac Limousine- Jon Butcher
Jimi Hendrix disciple Jon Butcher achieved some moderate chart success in the mid-’80s as the singer/guitarist for the Jon Butcher Axis. Coming out of the Boston club scene in the early ’80s, the Butcher Axis (which also included members Chris Mann on bass and Derek Blevins on drums), issued such albums as 1983′s self-titled debut, 1984′s Stare at the Sun, and 1985′s Along the Axis (Butcher dropped the Axis for such releases as 1986′s Wishes and 1989′s Pictures From the Front), opened for local Boston heroes the J. Geils Band in addition to other harder-edged bands, and issued a few singles that enjoyed some success on radio and MTV — “Wishes,” “Goodbye Saving Grace,” and “Life Takes a Life.” Butcher continued issuing solo albums in the ’90s — Positively the Blues (1995) and Electric Factory (1996) — while a hits compilation (1998′s The Best Of: Dreamers Would Ride) and an archival concert (1999′s King Biscuit Flower Hour Presents) were also issued. In addition to his musical career, Butcher founded the Electric Factory Recording Studio, which focuses primarily on film, TV, and multimedia work.
-Greg Prato, AllMusic.com
Stranded In A Limousine- Paul Simon
In a career dating back to the 1950s, Paul Simon established himself among the best and most popular songwriters of the rock era. Growing up in Queens, NY, Simon befriended schoolmate Art Garfunkel, who had an angelic tenor voice, and the two teamed up as Tom & Jerry, taking the names of the cartoon characters. In the winter of 1957-1958, they scored a chart hit with “Hey Schoolgirl”; both were 16 years old.
Simon continued to try to score hits in the late ’50s and early ’60s, reaching the charts briefly in 1962 in the group Tico & the Triumphs with “Motorcycle” and under the name » Read more
-William Ruhlmann, AllMusic.com
Long Black Limousine- The Low Society
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Low Society is the result of the intense collaboration between two disciples of the blues, Miss Mandy Lemons and Sturgis Nikides. Mandy sings the blues with an astonishing powerhouse voice which mixes southern fried soul and northern attitude. You will be astonished to hear so much power coming out of such a small figure, and you can clearly hear the influences of Koko Taylor, Etta James, Big Maybelle, and of course Janis Joplin. Big shoes to fill, indeed. Singer/songwriter/guitarist Sturgis Nikides, whose credits include a stint with Velvet Underground legend John Cale, has been playing the blues since the age of 10. His debut solo CD ‘Man Of Steel’ received critical acclaim. Low Society’s songs are an intriguing mixture of blues, soul and americana. The lyrics evoke Mandy’s hard scrabble Texas origins while Sturgis’s slide guitar pays homage to the sounds of the Mississippi Delta. Their exciting debut album, ‘Low Society – High Time’, released Aug 2011, features a diverse selection of traditional and modern blues and Americana. Standout tracks include ‘Dead Mans Shoes’, ‘Down Texas Way’ and Mandy’s soul baring, soon to be immortal, ‘Three Time Loser’. Low Society is on a mission to win the hearts and reinvigorate the ears of blues lovers the world over.
-reverbnation.com
And some press quotes:
“The singers vocals are so powerful and so full of spirit and exuberance , it causes one to be distracted by just how truly great the rest of the band is… ”
Steve Cottone – lowsocietyband.blogspot.com
“The brilliance of the album in it’s entirety is that it takes you on a trip that is akin to witnessing the origins of the Earth…with masterful acoustic duets, standard blues ballads and hard rocking roof raising foot stomping mania linked by the brilliant spirit of this married dynamic duo.”
Amnesiantoinette – the less led way
“Low Society …play dirty big city electric blues that goes straight for the gut. ”
Hans Werksman- Here Comes The Flood
“A real eye(and ear) opener for me was Low Society, a rumbling blues rock based band with a powerhouse female front person worthy of the late 60s glory days, but contemporary enough to sell lots of CDs and downloads right now.If they aren’t signed by the time you read this, I want to know why!”
Jimi LaLumia – Good Times Magazine
“Seriously lacking in stage fright, Miss Lemons is able to scare the shit out of Joss Stone. ”
Hans Werkman – Here Comes The Flood
“ The impact of this band cannot be ignored! ”Caprice Todmann and Chante Ramsey – Synch Chronicles Blog
“…blues is the glue that holds everything together…”Marc Ferris – Fairfield County Weekly
Photo by Strange Photography
Paint The Town Red- Mama Rosin with Hipbone Slim and the Knee Tremblers
What do you get when you cross a Swiss Cajun punk band with a London garage
rockabilly band? Well, if it’s not a contrived record company manoeuvre, but
instead came about because the two bands just happened to bump into each other
at a festival and got along like a house on fire, you get a wonderfully
organic, rough-edged party of an album which makes you suspect that the genre
of Cajun punk garage rockabilly has always been with us.
Perhaps part of this record’s success lies in the fact that both bands are
only trios, so Hipbone Slim brought a double bass to the table, and Mama Rosin
a melodeon and banjo. So it’s not a case of, say, too many guitarists spoiling
the broth. Clarity of vision is also guaranteed by the fact that lead vocals
are taken by each band’s singer in turn on the 12 tracks here. In effect this
means the Cajun vibe holds sway on banjo-led tunes like “Quel espoir?”,
and the blues becomes the dominant gene in “Killing Two Birds With One Stone”.
But despite this divide, the best moments are when their two worlds mesh. But
remarkably the whole thing hangs together as a single cohesive piece of work.
From the slow prowl of the Waits-ish (though not in a pastiche kind of way)
“Voodoo Walking” to the reverb-heavy subterranean crawl of “Swamp Water” on
which the ghostly melodeon functions as a perfect backdrop to some dog-howling
guitar soloing and an Elvis-with-a-hangover lead vocal. But generally the best
tracks are the ones which Robin Gilrod of Mama Rosin takes the lead on. There’s
a pleasing echo (rather than any deliberate mimicry) of Joe Strummer in his
slightly nasal but passionate drawl. It’s rare these days for an album to
retain the grit, energy and camaraderie that went into the making of it, and
although the stylistic parallels are minimal, I am reminded of listening
to Rod Stewart and the Faces at their most carefree and hedonistic. And
believe me, there’s no greater praise.
Howard Male (theartsdesk.com)
-dirtywaterrecords
Mama Rosin
Barley Wine- Slingshot Cash
Jon Ackley started this band in madison, wi in jan 2007 as a side project amongst friends, and as a vehicle to perform songs he wrote that didn’t fit in his other band. They were kinda country, kinda rock, kinda folk, and so Slingshot Cash was born. while in madison they played a handful of shows and house parties then put together a CD (names + drugs, pronounced names and drugs), before everyone moved onto the next phase of there lives, Jon’s being moving to NC. The latest edition of Slingshot Cash is a little more rock c. 1970 (Neil Young, CCR, Stones) than the 1.0 edition, yet still retains a country foundation (Gram Parsons, Johnny Cash, Hank, Townes), an emphasis on songwriting, and unironic songs about lost love, music, and the vices that get us through the day to day. Our band name comes from a leftist anarcho-cooperative group that puts out a daily planner – yeah, that is somewhat incongruent – and a johnny cash bumper sticker of him giving the finger. Jon put the Cash sticker on the planner and said, ‘hey, that would make a great band name.’ and so, Slingshot Cash got it’s name, about two years before it got a band.
You’re Through Fooling Me- Patty Loveless
As one of the few American singer/songwriters whose legacy rivals Hank Williams, it’s no surprise that Bob Dylan was entrusted with a collection of lyrics Hank left behind, the idea being that Dylan could set them to music. Dylan decided it was a project too big for one man so he recruited a number of like-minded artists to turn these words into songs, choosing artists with some measure of debt to Williams no matter their purported stylistic designation. That said, it is the country singers — Alan Jackson, Vince Gill and Rodney Crowell, Merle Haggard — who, along with Dylan, create songs that stay true to Williams’ melodies and aesthetic, Haggard tackling a religious text, Gill and Crowell reviving Hank’s midsong recitation, and Jackson effortlessly evoking classic postwar honky tonk. These are songs whose structure and sound are right in line with Hank’s classic work, but the rest of The Lost Notebooks is a little more malleable, at least in terms of arrangement. Jack White and Norah Jones produce work that’s recognizably their own — White’s voice cracks over a ramshackle rhythm, Jones sighs like a lullaby — yet these feel like reinterpretations of old Hank tunes, as does Levon Helm’s woolly “You’ll Never Again Be Mine,” with only Sheryl Crow’s “Angel Mine” and Jakob Dylan’s “Oh, Mama, Come Home” edging close to melodies that you’d hear on their respective solo records. Even then, Crow and the younger Dylan hardly play loose with the material; they treat it with respect but not undue reverence, something that unites all the artists here. On the surface of things, this is a bit of an odd task, taking left-behind lyrics from one of the great songwriters and breathing life into them. But nobody here seems intimidated; they seem honored — and there are some pretty good songs that come out of the project, particularly those by Jackson, Haggard, White, Jones, Gill and Crowell, and the Bard himself, who helped shepherd this fantasy project into something real, imperfect, and resonant.
-Stephen Thomas Erlewine, AllMusic.com
One of the most popular female singers of the new traditionalist movement, Patty Loveless rose to stardom thanks to her blend of honky tonk and country-rock, not to mention a plaintive, emotional ballad style. Her late-’80s records for MCA were generally quite popular, earning her comparisons to Patsy Cline, but most critics agreed that she truly came into her own as an artist when she moved to Epic in the early ’90s.
Loveless was born Patricia Lee Ramey in Pikeville, KY, in 1957 and spent most of her childhood in nearby Elkhorn City, where her father worked in the coal mines. Her immediate family loved music, and two of her distant cousins later found fame as » Read more
-Steve Huey, AllMusic.com
Shine On My Mind- Kate Maki
A grade-school French teacher by day, Kate Maki spends her evenings as a folksy singer/songwriter, singing her material in a half-spoken manner and strumming her guitar like a percussive instrument. Born and raised in Sudbury, Ontario, Maki didn’t fully pursue music until several years into her teaching career. Her debut album, 2003′s Confusion Unlimited, received accolades for its mix of folk and alt-country, and Maki returned the following year with The Sun Will Find Us. Both albums earned top honors at the Northern Ontario Music and Film Awards, and Kate Maki widened her approach for 2008′s On High, working with Giant Sand’s Howe Gelb and eliciting support from such American outlets as radio station KCRW.
-Andrew Leahey, AllMusic.com
“Like the best country singers, Maki’s voice is conversational yet somehow self-contained, as if it’d be quite happy talking to itself sitting on an open plain, or whistling to itself behind a wheel.” – Mojo
“She can sell a song with only her voice and an acoustic guitar.” – Pitchfork
“Daydreamy songwriting – somewhere in the magical musical realm of Mazzy Star, Nancy Sinatra & Lee Hazlewood, and Belle & Sebastian.” – San Francisco Chronicle
“In her own way, Maki rocks as hard as the fiercest metal band.”
- Chartattack
Moonshine is the fifth record from Kate Maki, grade school teacher by day, songwriter by night. It is the lively northern companion to Maki’s previous introverted desert album, Two Song Wedding.
With aspirations of recording in her basement around one microphone, Maki invited a group of veteran musician friends from Cuff The Duke, The Pinecones, Fembots, and The Minotaurs to Sudbury for a couple days of fun in the snow. On December 20 and 21, 2008, during one of the coldest weeks in history, underground and under a full moon, in between saunas and gourmet feasts, the band worked through the songs quickly and effortlessly. Drums, upright bass, guitars, pedal steel, piano, organ, accordion, and harmonized vocals forge the album’s full, live sound. More of a reunion than a recording session, Moonshine reflects the unexpected and endearing moments that can only come from great players playing great songs.
Kate Maki has been recording and touring since 2003. She has collaborated live and on record with a number of fellow songwriters including Ruth Minnikin, Howe Gelb, Dale Murray, Nathan Lawr, and most recently with Frederick Squire. When Kate is not on tour, she divides her time between substitute teaching and managing her independent record label, Confusion Unlimited.
Those Last Few Miles- The Way Goners
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Loaded like a juke box filled with your daddy’s favorite songs, The Way Goners crank out real country and southern roots rock music. The band specializes in outlaw country & classic drinkin’ and dancin’ tunes from artists that lived every line they wrote; legendary classics by Hank Williams, Waylon Jennings, Johnny Cash, & Willie Nelson played right alongside the southern roots rock of Charlie Daniels, The Georgia Satellites, & CCR.
Peppered throughout the night, you’ll also find original tunes from The Way Goners’ album releases. Proven, solid songs guaranteed to get your attention like a shotgun full of rock salt; When I Drink I Cheat, Too Late For Me, & Dry County Blues from their 2007 CD Kickin’ Up Dust produced by Georgia Satellites frontman Dan Baird, along with new offerings from their 2011 CD Hella’ Highway.
Calling Hammond Louisiana home, The Way Goners have been hittin’ the stage since 2005. Bringing their sound to the small river bars and roadhouses of Southern Louisiana, all the way to the bright lights and big city stages of music towns such as Nashville, Austin, New Orleans, Atlanta, & Alt .Country haven North Carolina. Along the way, the band has been fortunate enough to have shared the stage with some of their musical heroes like David Allan Coe and Dale Watson as well as up and coming honky-tonkers Whitey Morgan and the 78′s.
The Way Goners 2011 release Hella’ Highway marks the bands third CD and sophomore full length album. The songs for Hella’ Highway were recorded in a small studio in Nashville by indie producer and studio owner Adam Landry. A long time friend and former band mate of Howes, Landry is an established live and studio guitarist for artists such as Allison Moorer, Ray Lamontange, Hayes Carll, Dan Baird, and Trent Summar.
Like the title and opening track, Hella’ Highway features a dusty and organic sound. The lyrics of songwriter and singer Michael Howes are honest & heartfelt as is the music put forth by Randy Colona on drums, Colin Wiegand bass, and Shane Willis on lead guitar and mandolin. Hella’ Highway features a variety of grooves like the country swinging Weed, Wine, & Willie; Cajun waltz Butte La Rose; and relentless boogie My Old Flame.
“This is hard hitting, high impact country that makes you realize just how soft most country has become. Kickin’ Up Dust proves that THE WAY-GONERS are firing on all cylinders and here’s hoping they’re heading to a honky tonk or biker bar near you.”
Tap Roots Radio Show
“This record was made by a group of guys who truly love what they do. A simple song, with it’s heart on it’s sleeve. It’s not much more complicated than that; and then again great stuff never is.”
Dan Baird
“Rough and ready, liquored up, southern style country. Dashes of Hank, a dash of Skynyrd, add an injection of Georgia Satellite swagger that comes from Dan Baird on production duties, and there you have it.”
Americana UK
“This is one of the best albums I’ve heard so far this year. If you’re looking for good solid country music delivered with real heart and passion, look no further than “THE WAY-GONERS”. AP Hell-raisin’ honky-tonk from exciting new roots band.Louisiana’s “THE WAY-GONERS” are another of those good ole ‘rootsy,’ ‘hard-assed’ honky-tonk country bands that have been hailed as saviours of ‘real’ country.”
Maverick Magazine
“Now this is what real country music used to sound like: rockabilly/honkytonk/rockn’roll. Anyone who’s ever frequented a rural dancehall sometime back around the late Fifties early Sixties will know what’s being talked about here. These four Louisiana guys have got the style down pat. ”
Don Grant – Frieght Train Boogie
16 Tons- Leann Rimes
In 1996, LeAnn Rimes burst out of nowhere with her debut single, “Blue,” which immediately captured the attention of country fans across America. It wasn’t just the fact that her rich, powerful vocals were remarkably similar to Patsy Cline — it was the fact that Rimes was only 13 years old. Like Tanya Tucker and Brenda Lee before her, she had a hit with her debut single and was barely a teenager at the time. It was quite an auspicious way to begin a career. Born in Jackson, MS, but raised in Garland, TX, Rimes (born August 28, 1982) began singing as a child, performing at local talent contests. At the age of 11, … » Read more
-Stephen Thomas Erlewine, AllMusic.com
I’ll Be Your Driver- Jimmy Thackery and the Drivers
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Singer, songwriter, and guitar virtuoso Jimmy Thackery carved an enviable niche for himself in the world of electric blues. Known for his gritty, blue-collar approach and marathon live shows, Thackery was for many years part of the Nighthawks, one of the hardest-working blues bar bands in North America. By the late ’80s, he was touring and recording under his own name, and finding widespread acceptance on the festival circuit. His hard-edged, tough-as-nails approach to guitar playing and his trio’s driving rhythm section holds appeal for fans of both the straight-ahead blues of Muddy Waters and the roots rock of Bruce Springsteen and » Read more
-Richard Skelly, AllMusic.com
Lonesome Truck Driver’s Blues- The Del McCoury Band
Among the most distinguished practitioners of traditional bluegrass, Del McCoury was the epitome of the “high lonesome sound” for over three decades. Born Delano Floyd McCoury, he was raised in Bakersville, NC. In 1941, he and his family moved to Glen Rock, PA, where he got his start as a five-string banjo picker with Keith Daniels & the Blue Ridge Ramblers. Later he played with Jack Cooke’s Virginia Mountain Boys in Baltimore. McCoury got his first big break in 1963 when Bill Monroe hired » Read more
-Sandra Brennan, AllMusic.com
(Nashville, TN)…This September marks the 100th anniversary of Bill Monroe’s birth, and not surprisingly, there have already been plenty of tributes to the Father of Bluegrass Music, with more still to come. But when listeners turn to Old Memories: The Songs Of Bill Monroe–released digitally September 27th with a vinyl release following on October 25th–what they hear won’t be the result of a carefully crafted campaign, but the result of a decision that was as spontaneous as it was inevitable—because for Del McCoury, Bill Monroe’s legacy isn’t just a matter of history, but something that’s as immediate and personal as the guitar he picks up every time he gets ready to play.
“I had done songs of his on different albums I made through the years,” says McCoury, who served a life-changing year with Monroe’s Blue Grass Boys from 1963 to early 1964. “But I’d never really thought about doing a whole album until the day we were flying home from the Grammy awards—and by the time we got to Nashville, I’d made a pretty good list of what I wanted to do. I didn’t want to do a lot of things that everybody had already done; I wanted to do somethings that weren’t real popular but were really good. Some were songs I’d never heard him sing, some were songs that he’d sing on a show—and some were songs that he sang on the record, but he made me learn the lead. And I wanted to do them in the same keys he did, because if you change that, you just don’t have the same sound he had on them.”
The result is a set that perfectly captures the essence of Bill Monroe’s music—and does it in a way that stands head and shoulders above the crowd. Read more…
-delmccouryband.com
Nothin’ But A Driver- The Bottle Rockets
Festus, Missouri’s Bottle Rockets ranked as one of the leading lights of the 1990s roots rock revival, thanks to a sound that bypassed the punk heritage proudly upheld by most of the band’s contemporaries in favor of a redneck fusion of Southern boogie, country-folk, and crunching rock & roll. The group was fronted by singer/guitarist Brian Henneman, a Missouri native who formed his first band, Waylon Van Halen & the Ernest Tubbadours, in 1977 with friends Tom and Bob Parr. After a succession of names and a steady rise in musical competence, the threesome began landing club dates both locally and in Illinois, where they became friends with the young Jay Farrar and » Read more
-Jason Ankeny, AllMusic.com
It took the Bottle Rockets three years to come up with a follow-up to 2006′s righteous return to form, Zoysia, but it doesn’t take long for Lean Forward to demonstrate that Brian Henneman and his bandmates used the time wisely — if this isn’t an out-of-the-park grand slam like Zoysia or The Brooklyn Side, it’s a solid home run that confirms the BoRox are still one of America’s great unsung rock & roll bands. Plenty of roots rockers have written about their love of fast cars, as Henneman does here on “Nothing But a Driver,” but not many have come up with a well-observed slice of life about using public transportation, and “Get on the Bus” is a great example of what » Read more
-Mark Deming, AllMusic.com
Hey Driver- Dale Watson
A staunch adherent of old-style honky tonk and Bakersfield country, Dale Watson has positioned himself as a tattooed, stubbornly independent outsider only interested in recording authentic country music. As a result, he has never sold many records, but his music has been championed by numerous critics and alternative country fans.
Watson was born in Alabama in 1962 but spent his teenage years near Houston, and he grew to think of Texas as his true home state. His father and brother were both musically inclined, and he began writing his own songs at age 12, making his first recording two years later. After graduating from high school, he spent seven years playing local clubs and honky tonks. He moved to Los Angeles in 1988 on the advice of Rosie Flores and soon joined the house band at … » Read more
-Steve Huey, AllMusic.com
In 1998, Texas country & western singer and songwriter Dale Watson issued his debut volume of Truckin’ Sessions for Koch International. It was a stunning collection of 14 self-penned tunes written in the tradition of Red Simpson, Dave Dudley, Merle Haggard, and Red Sovine. Since that time, Watson’s cut over a dozen more records in studio and live. All of them could have been written in the 1960s. This is not to say that Watson’s merely a historical revivalist: he simply writes and records his songs without the use of modern effects and takes no note of what’s happening in the music world of the 21st century. What’s more, it works. » Read more
-Thom Jurek, AllMusic.com
Cab Driver Blues (Acoustic version) – Big Gilson and Allan Ghreen
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Brazilian blues-rock guitarist Big Gilson returns with his second release Cab Driver Blues, again showcasing his love and understanding of the American art form. Collaborator and fellow Brazilian Alan Ghreen is featured on Hammond B-3 providing a jazzier edge to Gilson’s raucous electric style. Assembled for this Topcat release is an impressive modern blues backup band that includes Bugs Henderson, Hash Brown, Kenny Neal, and Holland K. Smith.
-Al Campbell, AllMusic.com
“… Big Gilson is a national pride of the blues … ”
Bernardo Araújo, Jornal O Globo
“… When I see a young man playing blues so well and so far from America, I feel that my mission in life is fulfilled … ”
BB King – 2000.
Big Gilson, artist TOPCAT RECORDS (Dallas, Texas) and COQUEIRO GREEN RECORDS in Brazil, is the bluesman Brazilian who works abroad, where his career is grounded since 1995.
Gilson, it is the only South American guitarist who has the support of more traditional factory amplifiers, the English MARSHALL.
Big is a self-taught guitarist, singer and composer, internationally recognized by audiences and critics, and while playing the instrument since he was 15. It started with the white blues of Johnny Winter, Eric Clapton and Roy Buchanan, later becoming known old masters such as Buddy Guy, Elmore James, Albert King, Freddie King, Robert Johnson and many others.
He has performed throughout Brazil, USA, Canada, Argentina, Chile and Europe. He has shared the stage that night with artists the caliber of Steve Winwood (Brazilian tour), Johnny Rivers (70,000 people), Johnny Winter, Canned Heat, Mick Taylor (Rolling Stones), Magic Slim, and twice the master BB King.
“… Big Gilson is not only a blues player, but an authentic blues man. He shows through his interpretations and the blues music that runs in your veins and every beat of your heart … “The Delta Snake, by Michael Roberts – 2002)
“… This CD Gilson boot to break the Blue Note in New York …” Tim Schuller – Dallas, Texas – 2003
“… Big Gilson, but it knows what to do with the guitar, showing the expertise of an international Brazilian musician with charisma … “(Elias Nogueira – Journal of Recording – 2003
“… This CD confirms Big Gilson’s position as the largest Brazilian guitarist blues …” (Jornal do Brazil – Março/99)
“… His extraordinary virtuoso slide is disturbingly …” Tim Schuller – MET MUSIC – Texas – Dec. 99
“All right … this guy is from Rio, but he plays as if he had been born and raised in South Oak Cliff and there is no greater compliment than a native of Texas and eternal lover of blues can do …” (John Nova Lomax – Music Independent Magazine, Houston / Texas – 98)
“… Guitarist bases do Rio floods, land slide with powerful and Frazer. His vibrato is exciting. Intuitive, feeling seems to be seeking first of all, and this is one of the requirements for good blues. The CD recording quality shows, and much feeling, with a climate of Texas in the air … “(Guitar Player – Fevereiro/99)
- (Translated from Portuguese)
-biggilson.com
Truck Driver’s Blues- Rose Flores
Alternative country meets the rockabilly revival meets California guitar virtuosity in the music of Rosie Flores. Since the late ’70s, guitarist, singer, and songwriter Rosie Flores has been an important figure on the alternative country scene in both Austin, TX, and Los Angeles. She’s a hard-working, independently minded artist who’s well-respected for her gritty, energetic vocals and fiery guitar solos.
A native of San Antonio, Flores moved to San Diego with her family when she was 12. Her family encouraged her singing and guitar playing, and as a girl she soaked up the sounds of southern California — surf guitar, country and country-rock, blues, and rockabilly-flavored garage rock. By the time she was in her teens, Flores was … » Read more
-James Manheim, AllMusic.com
Rosie Flores whips the best of rock and roll, honky tonk, early rockabilly, blues and jazz with the traditional sounds of her roots in San Antonio, TX. She took flight in Southern California, and has been a major figure in the Los Angeles, Austin, TX and Nashville music scenes – as well as Europe and Japan.
Rosie’s reputation as a high-octane rockabilly and country star is well established, and recent accolades have only made her musical bouquet fuller. June 2008 found Rosie onstage at the Waldorf Astoria in New York City, accepting the prestigious Peabody Award for her narration of the 10-hour documentary radio show on the history of Rockabilly, “Whole Lotta Shakin’”, produced by Lex Gillespie.
Damn good songwriter, award-winning guitar player, and break yer heartstrings singer…Read more
-rosieflores.com
Truck Driver’s Ride- Jimmy Bryant and Speedy West
Speedy West and Jimmy Bryant recorded a wealth of quality material in the 1950s, in enough quantity to dispel any notions of regarding them as a novelty act. Those who want more West/Bryant instrumentals after hearing their Stratosphere Boogie collection (also on Razor & Tie) but don’t want to spring for the Bear Family box set will be happy to own this second volume of 1951-1956 tracks. The caliber of these 20 selections is almost uniformly high, whether it’s the blazing leads and slightly dissonant accents of “Frettin’ Fingers,” the faster-than-bejesus run-through of Rodgers & Hart’s “Lover” (one of five cuts previously unavailable in the U.S.), the pre-exotica jungle/bird noises created on West’s steel for “West of Samoa,” or the six-minute “China Boy,” on which Bryant disregarded the producer’s gestures to “cut.” The slow numbers tend to impress less than the flashier workouts, but even on those they can throw in some head-spinning licks, like the steel guitar facsimile of a train whistle that opens “Railroadin’.”
-Richie Unterberger, AllMusic.com
Speedy West Jimmy Bryant
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