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Albert King - Truckload Of Lovin' (1976)
Blues | MP3 VBR ~203 Kbps | 60 MB | 1976
Tracklist:
01. Cold Women With Warm Hearts
02. Gonna Make It Somehow
03. Sensation, Communication Together
04. I'm Your Mate
05. Truck Load Of Lovin'
06. Hold Hands With One Another
07. Cadillac Assembly Line
08. Nobody Wants A Loser
Albert King http://rapidshare.com/files/301353946/Albert-Truckload.rarPersonnel: Albert King (guitar, vocals), Wa Wa Watsou, Billy Fender, Greg Poree (guitars), Joe Sample, Bert de Coteaux, Jerry Peters (keyboards), Charles Rainey, Henry Davis (bass), James Gadson (drums), King Errisson (congas), Lani Groves, Maxine Willard, Denice Williams, Julia Tillman, Dee Ervin, Jeanie Arnold (background vocals). ”
Albert King is truly a "King of the Blues," although he doesn't hold that title (B.B. does). Along with B.B. and Freddie King, Albert King is one of the major influences on blues and rock guitar players. Without him, modern guitar music would not sound as it does — his style has influenced both black and white blues players from Otis Rush and Robert Cray to Eric Clapton and Stevie Ray Vaughan. It's important to note that while almost all modern blues guitarists seldom play for long without falling into a B.B. King guitar cliché, Albert King never does — he's had his own style and unique tone from the beginning.
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Albert King and John Lee Hooker - I'll Play the Blues For You (1977)
Blues | MP3 CBR 320 kbps | 00:49:09 | 112.50 MB
1977 | Label: Rhino | Language: English
1. Born Under A Bad Sign
2. The Very Thought Of You
3. I Worked Hard
4. I'll Play The Blues For You
5. Feel Good
6. Boom Boom
7. Serves Me Right-Retry
8. One Bourbon, One Scotch, One B
9. King Snake
Albert& JohnPass:MaciLaci
This is a very very good live album. It's a bit strange that they piece together two artist and pieces of two shows together. It's a shame the CD is only 40 minutes. It would have been better as a double CD or full length individual albums. Both artist are found at their peak with very good backing bands. Albert does a nice work out and does a great job working the crowd. On a side note, if you like Albert King check out 'In Sessions' with Stevie Ray - amazing. For me the John Lee's set is the real stand out. JLH and the band are HOT and you can really feel the crowd. Like being in a smokey bar at 2:00 AM. For me nothing tops John Lee live in his full trottle boogie style (before the remakes later in his acreer with all the guest stars. This is JLH at his finest. Live at Soledad Prison is another good example. For a great studio album check out 'Never get out of these blues alive'.
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R.L. Burnside - A Bothered Mind (2004)
Electric blues | | mp3@VBR V0 (267kbps) -> 83 MB
39:31 min | covers |
Tracklist:
01 Detroit Boogie Part 1 (00:39)
02 See What My Buddy Done (02:57)
03 Shake 'Em On Down (03:30)
04 Goin' Down South (Feat. Lyrics Born) (03:12)
05 My Name Is Robert Too (Feat. Kid Rock) (02:44)
06 Someday Baby (Feat. Lyrics Born) (03:16)
07 Go To Jail (02:43)
08 Bird Without A Feather (03:09)
09 Glory Be (04:38)
10 Goin' Away Baby (03:18)
11 Rollin' And Tumblin' (03:51)
12 Stole My Check (02:42)
13 Detroit Boogie Part 2 (02:53)
R.L. Burnsidehttp://rapidshare.com/files/272844264/RLBABM04m.rarWhen R.L. Burnside and the rest of the Fat Possum confederation emerged from the northern Mississippi hills in the early '90s, they gave contemporary blues a much-needed shot in the ass, reminding everyone that the genre really wasn't so much about pyrotechnic guitar histrionics as it was about getting folks to hit the dancefloor, and once there, making sure they stayed. Burnside in particular has been a fascinating and intriguing musician ever since, and even as he cruises through his eighties, he may well be the most progressive and postmodern of anyone on the current blues scene. Although his basic template is and remains a John Lee Hooker-like modal boogie shuffle, Burnside has combined it with full-tilt garage and punk band dynamics (1996's A Ass Pocket of Whiskey, with the raucous backing of the Jon Spencer Blues Explosion) and controversial (to blues purists) techno nation hip-hop effects (1998's Come On In, featuring Beck mixmaster Tom Rothrock), and while these experiments haven't always worked, they show a playful willingness to treat the blues as something fun and vital, not some dusty, nostalgic period music trotted out on display from the music museum. No, Burnside's version of the blues is powerful, visceral, and -- this is often overlooked -- playful, with his almost demonic chuckle being as recognizable a feature of his music as any guitar lick.
A Bothered Mind is perhaps the most ideally representative of all of Burnside's albums, ranging from solo acoustic tracks to crunching boogie struts, all with a light dose of hip-hop and enough scratching and looping effects to make this clearly an album from the 21st century. Amazingly, it all works as a cohesive whole, opening with a 38-second live fragment of "Detroit Boogie" (in which Burnside intones "I do what I want..."), and then closing with the full version. In between these bookends, the album -- aside from the rather contrived Kid Rock track, "My Name Is Robert Too" -- is continually fascinating, and it never stops churning. The most striking track is also the earliest and simplest, a solo acoustic version of "Bird Without a Feather" that was field recorded by folklorist George Mitchell in 1968. Two tracks here, the umpteenth version of Burnside's signature "Goin' Down South" and "Someday Baby," were produced by Lyrics Born (T. Shimura) of the Quannum collective, and he gives both songs a delightful hip-hop sheen without sacrificing one bit of Burnside's irascible swagger. The rap interlude Lyrics Born delivers on "Someday Baby" is nothing less than a second-cousin update of Bob Dylan's "Subterranean Homesick Blues." Perhaps the most surprising song here is "Glory Be," which finds Burnside exploring some more new territory, this time inventing a kind of Saturday night juke joint gospel. Listen for R.L.'s chuckle all through these tracks. He's having fun. He's pushing the blues forward, all without changing a beat. He's making relevant albums when musicians half his age are washed up and creatively exhausted. Is he trying to say that rap is the new blues? Mostly he's just trying to keep that dancefloor filled. ”
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