Patrick Boissel’s Alive Natural Sound record company, an outfit he founded in 1994, has become a haven for music acts in the realms of garage rock, punk, power pop, and just about any band that plays the blues with bluster and the volume up at 10. It’s the smaller labels like this one who find those diamonds in the rough,Read More
Post Tagged with: "Blues"
by Derrick Lord It has long been the first trap any musician must jump once they hit it big. A successful record means a lot of people hear your music and from that point on you have a decision to make
His name is linked forever with the town, and the sound, of Memphis. But Booker T. Jones’ influence moves beyond Beale, into hip hop and today’s rhythm-and-blues — something that’s underscored on The Road from Memphis
by Tom Johnson My dad introduced me to Robert Cray long ago and, even into a new century, little had changed with Cray: He was still putting out dependable, if unspectacular, albums of his smooth brand of blues — a sound that fills in that overlooked category of music that can be played in the background for pretty much anyoneRead More
The 32nd annual Blues Museum Awards ceremony was held Thursday night at the Memphis Cook Convention Center. Produced by the Memphis-based Blues Foundation, the event belonged to Buddy Guy.
Dominated by a dreamy wah-wah from guitarist Kyle Sclafani, Mia Borders’ “Try Me On” initially brings to mind all of the big-hat-wearing, too-tall-bootsy joys of 1970s funk. When her lyric, which starts out sexy and tough, gives way to Adam Matasar’s throwback turn on the Fender Rhodes, the lava-lamp lightning is juuuust right. Yet “Try Me On” — found onRead More
John Oates takes us inside the love-gone-wrong beginnings of Hall and Oates “She’s Gone,” and talks about how the birth of Oates’ son sparked a standout solo track. He also laments that doo wop never gets its due, and how he remade a signature Hall and Oates hit into a boot-scootin’ swing tune on his new record, “Mississippi Mile.” “SHE’SRead More
Buddy Guy is a finger-licking wonder on the forthcoming 2-CD Chicago Blues: A Living History; The (R)evolution Continues, an old-blues-meets-new-blues set scheduled for a release on June 7 by Megaforce/RED.
Bob Margolin discusses his role in Muddy Waters’ final sessions, takes on an early side from Chuck Berry, and then disagrees on one of our favorite solo deep cuts.
This is a different kind of blues record, one with a joltingly modern menace. The Third International’s Beautiful Accident brilliantly updates a time-weathered genre by focusing on texture as much as lyrical content.