Billy Branch, a fire-kissed harp-playing protegé of blues great Willie Dixon, took some 15 years between studio recordings — and not because of some lack of creative impetus. Instead, Branch was waiting for a new sound to come together.
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Ask anyone familiar with Lucinda Williams’ music and early on in their reply they’ll almost surely include mention of 1998’s Car Wheels On a Gravel Road, but Williams’ abilities as a singer and songwriter came to full bloom ten years before.
Leo Welch’s music comes from that place where down-home gospel meets up with jukey blues (would that be the church’s backporch?), filling your heart even as it gets your toe to tapping.
A New Year’s Eve show by Levon Helm and his RCO All Stars so impressed a member of the audience that he eventually swiped several members to form the basis of the Blues Brothers.
Beth Hart has crafted a reputation for scalding, Joplin-esque barnburners. But “Baddest Blues” is nothing like that.
There’s a different attitude surrounding these recordings, which find Tommy Castro collaborating with a tough new group of blues-rock loving youngsters.
The Hindu Love Gods may sound like the name of some obscure alt-rock band, but that was hardly the case. In short: it was R.E.M. with Michael Stipe replaced with Warren Zevon.
Carlos Santana has reunited with the original congo player from the Santana Blues Band, after discovering that Marcus “The Magnificent” Malone had fallen on hard times.
Old lions — namely Wayne Shorter, Boz Scaggs and James Cotton — certainly roared in 2013, putting out some of the most vital, present music of their careers.
On the outside looking in, the two most famous editions of Fleetwood Mac — Peter Green’s blues-based era, and the Buckingham-Nicks pop period — couldn’t be more different. Not to Mick Fleetwood.