CD - Willie Kent - Long Way to Ol' Miss

The preeminent Chicago blues bassist of the postwar era, Willie Kent was the city's last surviving link to the Mississippi Delta tradition, backing a who's who of immortals including Muddy Waters, Howlin' Wolf, and Junior Parker as well as fronting his own long-running band, the Gents. Born in Inverness, MS, on February 24, 1936, Kent was the product of a sharecropping family, and was enlisted to pick cotton at the age of six. While local musician Dewitt Munson afforded his first exposure to the blues, as a teen he began dialing in Helena, AR's influential radio station KFFA, where the King Biscuit Time broadcast served as his introduction to formative influences including Arthur "Big Boy" Crudup, Sonny Boy Williamson, and Robert Nighthawk. By age 11, Kent was a surreptitious fixture at the Highway 61 club the Harlem Inn, catching acts headlined by Howlin' Wolf and Ike Turner. Two years later, he left home for Memphis, and after a brief tenure at a Florida gas station, he migrated to Chicago at the age of 16. There Kent bought his first guitar, which he loaned to musician Willie Hudson in exchange for lessons. In 1959, he joined Hudson's band Ralph & the Red Tops as a chauffeur, occasionally appearing on-stage as a vocalist. Whenever Hudson's bassist brother showed up for a gig too drunk to perform, Kent was summoned as his replacement, eventually taking over the position for good. Upon joining Little Milton's band in 1961, Kent's notoriety grew, and he became a steady presence at Kansas City Red's legendary "Blue Monday" parties. Kent was renowned as much for his talent as for his professionalism, a rare commodity in the blues world, and he regularly sat in with greats spanning from Muddy Waters to Little Walter. After leaving Little Milton, he tenured with Arthur Stallworth & the Chicago Playboys as the 1960s came to a close, followed by stints in support of Hip Linkchain and Jimmy Dawkins. After returning from a European tour, Dawkins relinquished his headlining gig at the West Side blues club Ma Bea's Lounge to Kent, who for the first time assembled his own band, Sugar Bear & the Beehives, with guitarist Willie James Lyons and drummer Robert Plunkett. Ma Bea's would serve as the setting for Kent's debut LP, 1975's live release Ghetto, and remained his home for over six years. In 1982, he returned to sideman duties, joining Eddie Taylor and contributing to his acclaimed 1985 swan song Bad Boy. After Taylor died that Christmas, Kent recruited his guitarist Johnny B. Moore and drummer Tim Taylor to form Willie Kent & the Gents: as their fellow bluesmen adopted an increasingly slick sensibility inspired by commercial R&B, the Gents championed the classic Delta 12-bar tradition, emerging as a favorite of blues purists at home and abroad. After a series of heart ailments forced Kent to undergo triple bypass surgery in 1989, he spent his recovery examining his life and career, finally abandoning his longtime trucking gig in favor of pursuing music full-time. I'm What You Need, his first solo LP in 14 years, soon followed on the Big Boy label and proved the first in a flurry of releases that next included his Delmark debut, Ain't It Nice, which earned the Library of Congress Award for Best Folk/Blues Album of 1991. Kent also signed to the Austrian label Wolf for a pair of LPs, 1991's King of Chicago's West Side Blues and Live at B.L.U.E.S. in Chicago. With so many new records to his credit, it was inevitable that Kent finally earned the attention of blues fans and critics across the globe, and in 1995, he won the W.C. Handy Award for Best Blues Instrumentalist, Bass. Two years later, he earned the award again, and went on to claim the prize in nine consecutive years. Kent also notched five consecutive Most Outstanding Blues Musician, Bass honors from the magazine Living Blues, and with 1998's Delmark release Make Room for the Blues took home Chicago's Album of the Year prize. In early 2005, Kent was diagnosed with cancer, but continued his busy live schedule in spite of chemotherapy treatments. He lost his battle with the disease on March 2, 2006, just a week past his 70th birthday.

Bajar Cd :

http://www.megaupload.com/?d=56O97U60

VIDEOS - Bernie Marsden - Green and Blues,Tribute to Peter Green

Blues rock guitarist Bernie Marsden's hot licks helped launch the career of Whitesnake, as he played on the group's first eight releases, and lent a major hand in composing some of the band's most renowned songs. Initially inspired to play the guitar as a teenager due to such authentic blues players as Howling Wolf and Sonny Boy Williamson, Marsden later picked up on such '60s white blues players as Peter Green, Eric Clapton, and Jeff Beck. The early '70s saw Marsden briefly join several renowned groups - Juicy Lucy and UFO - but each time, the guitarist exited before a full-length album could be completed (Marsden was also a member of a group that drummer Cozy Powell attempted to put together, Hammer, before quickly disbanding). The mid '70s saw Marsden join British prog rockers Babe Ruth for a pair of releases, 1975's Stealin' Home and 1976's Kid's Stuff, before the group broke up, as well. Marsden then supposedly turned down an offer to play with Paul McCartney, and eventually joined up with former Deep Purple vocalist David Coverdale in Whitesnake.
Early on, Whitesnake pursued a much more bluesy and hard rock-based sound than their latter-day (and much more successful) pop-metal direction, as Marsden played on such albums as 1978's Snakebite and Trouble, 1979's Love Hunter and Live at Hammersmith, 1980's Ready An' Willing, 1981's Live in the Heart of the City, 1982's Come and Get It, and 1983's Saints and Sinners. Although the group achieved substantial success throughout Europe, Coverdale wanted to pursue a more mainstream sound to crack the lucrative U.S. market, which led to Marsden's exit soonafter. Subsequently, a pair of Marsden-Coverdale compositions would be dusted off and re-recorded by Whitesnake in the late '80s ("Here I Go Again" and "Fool for Your Loving"), both of which became sizeable worldwide hits.
It was during his tenure with Whitesnake that Marsden also managed to find the time to issue a pair of solo albums, 1979's And about Time, Too! and 1981's Look at Me Now. But instead of pursuing a solo career full-time after his dismissal from Whitesnake, Marsden opted to form a new band, Alaska, who only managed two releases, 1984's Heart of the Storm and 1985's The Pack, before breaking up. After laying low for the remainder of the '80s, Marsden resurfaced in the '90s, guesting on recordings by such artists as Forcefield and Walter Trout, and forming a new group along with his ex-Whitesnake bandmate, guitarist Mick Moody, called the Moody Marsden Band. The band usually relied on playing classic Whitesnake tunes live, and issued such recordings as 1992's Never turn your Back on the Blues, 1994's Live in Hell: Unplugged and Real Faith, plus 2000's The Nights the Guitars Came to Play and Ozone Friendly (the latter of which was a reissue of Real Faith, albeit with a slightly different tracklisting). The early 21st century saw the duo joined by another former Whitesnake bandmate, bassist Neil Murray, which resulted in the formation of a new group, Company of Snakes (with a pair of releases soon following -2001's Here They Go Again: Live and 2002's Burst the Bubble).
Marsden has also sporadically issued further solo recordings, including 1992's The Friday Rock Show Sessions and the 1995 Peter Green tribute, Green and Blues. In addition to his music career, Marsden has also tried his hand at acting (the German TV movie, Frankie), and has provided soundtracks for several movie projects in both Germany and the U.S., plus serving as the art director, producer, and author of the three part TV series, The Delta Blues 1926 - Urban Blues 1960.

Ir a Youtube,2 impresionantes videos

http://www.youtube.com/watch?v=3J-zvuGy4KM

http://www.youtube.com/watch?v=Yu5mCP1baZ4&feature=related

Bajar Cd

http://www.megaupload.com/?d=BGNRAIK1

CD - Floyd Mc Danniel - West Side Baby,Live in Europe

Known for blues-drenched jazz and jazz-drenched blues, Floyd McDaniel was a part of the Chicago scene for most of his 80 years. The singer/guitarist was born in Athens, AL but spent much of his life in the Windy City, which he moved to when he was 15 in 1930. As a teenager, McDaniel played and sang the blues on the streets of Chicago, and in 1933, he joined a washboard band called the Rhythm Rascals. In the early '40s, McDaniel learned to play the electric guitar and joined the Four Blazes, a jump blues combo that later became the Five Blazes and recorded for Aristocrat in 1947 and United Artists in 1952-53. The Blazes went through their share of personnel changes; some of the artists McDaniel played with in the group included bassist Thomas Braden and pianist Ernie Harper. After the Blazes drifted apart in the late 1950s, McDaniel was involved in a variety of activities, including operating a tavern on Chicago's South Side in the 1950s and 1960s and playing with a version of the Ink Spots in the 1970s. In the 1980s, McDaniel joined forces with Dave Clark, a veteran tenor saxophonist who ended up joining McDaniel's final group, the Blues Swingers. McDaniel, who recorded for Delmark in the 1990s, died in Chicago on July 23, 1995—only two days after his 80th birthday.

Recorded in May of 1994 — just months before McDaniel's death — this gritty European date finds the singer/guitarist joined by Dave Specter and the Bluebirds.

Bajar Cd :

http://www.megaupload.com/?d=V6IEUGCQ

CD - Pat Vig Group - The First Album

This guitarist, backed by a drummer and a bassist, release his first album on Brennus. He can enhance his virtuosity and his harsh guitar playing through his Southern-rock. A powerful, tremendous Southern rock in the vein of LYNYRD SKYNYRD or Z.Z. TOP but with a more melodic reasearch and musical sophistication.

Bajar Cd:

http://www.megaupload.com/?d=3WHH9SQX

CD - Dave Meniketti - On the Blue Side

Despite being best known as the guitar slinger for Bay Area pop metallists Y&T, Dave Meniketti has always had a fondness for the blues, as heard throughout his first-ever solo album, 2000s On the Blue Side. Although it's not new for a metal guitarist to rediscover their blues roots (Gary Moore successfully reinvented himself as a bluesmen in the early '90s), Meniketti gets to show off his blues chops throughout. Included is an album-opening cover of James Brown's "Man's World," while Meniketti does a pretty darn impressive Billy Gibbons impersonation on "Angel on my Shoulder." He pays tribute to Stevie Ray Vaughan on "Just Coastin'," and pours out his heart and soul on "Until Next Time." Those who have Meniketti pegged as merely a heavy metal guitarist will certainly change their tune after hearing On the Blue Side.

Bajar Cd :

http://www.megaupload.com/?d=S4I3JX9V

CD - Nuno Mindelis-Long Distance Blues

Born in Cabinda (Angola), Eastern Africa on Aug. 7, 1957, Nuno Mindelis became a guitar enthusiast at the very young age of 5.
By the age of 9 he began building and playing self-made guitars.
A primary influence at that time was Otis Redding and his great rhythm section, Booker T. & The MG's, made up of Booker T., Steve Cropper, Donald "Duck" Dunn, and Al Jackson. Nuno continues to enjoy the work of these musicians to this day.
Nuno joined an older cousin in Canada where he played jams.He remained there for about a year.
In 1976, following a year of separation from his family, he decided to rejoin them in their newfound home of Brazil.
Nothing eventful happened until 1990, when an independent recording he had made there began to receive airplay on local radio stations.
In 1991 he was invited to record his debut solo album, "Blues & Derivados", which received very positive reviews in Brazilian media.
In 1992 he recorded his second solo album, "Long Distance Blues" for the "Movieplay Records" label. For this album Nuno was joined by Larry McCray, guitarist from Gary Moore's band, and French harp player J.J. Milteau.
The album received rave reviews from Brazilian media.
As part of his promotional tour for the album, Nuno was fortunate to gain a spot in a blues festival in Sao Paulo featuring Robert Cray, Otis Clay, Ronnie Earl, Lonnie Brooks, and Bo Diddley.
1994 saw Nuno's first known recognition by a major American music magazine. "Guitar Player Magazine" profiled Nuno in an issue. Further recognition came in their May, 1998 issue, as Nuno was selected as "Best Blues Guitarist".
In 1995 Nuno was invited to play at Antone's 20th Anniversary in Austin, Texas, opening for Guy Forsite, Junior Wells, and others. Clarence Gatemouth Brown and Storyville also performed at this event. The headlines of the Austin Blues newspaper warned of Nuno's forthcoming visit as "The South American Beast is coming!".
Later that year Nuno would record his album "Texas Bound", featuring newly made friends Tommy Shannon & Chris Layton, Stevie Ray Vaughan's rhythm section supreme, "Double Trouble". Texas Bound was the 12th blues best seller in Belgium , Netherlands and Luxembourg’s charts in 1997.
In 1999 Nuno released "Blues On The Outside". Again, rave reviews from the media.
In 2001 Nuno was invited to play the 22nd Montreal International Jazz Festival and his name was announced alongside with such names as Prince ,George Benson, Oscar Peterson, Diana Krall, John Hammond just to name a few.
His main presentation at open air for aproximately 20.000 people was considered as some of the best blues presentations of the Festival by the critic . This led to another invitation for the 2004 edition of the festival . Again, great response from either audience and critic.
In 2003 Nuno released the album “Twelve Hours” , which is considered by many people as his best album ever . What they are saying about Twelve Hours:
"Twelve Hours, the fourth album from Brazil's Nuno Mindelis, explodes with heavy, Hendrix-Vaughan guitar. On "Stormy Minded Man," Mindelis uses a nasally wah-wah tone and undeniable technique, alternating legato lines with extremely rapid picking over a deep groove; throaty harp from Thiago Cerveira and snarling guitar adorn the sinuous, back-scratching rhythm of Paul Orta's "Shake It." The playing throughout is imaginative, hard, fast and not for the faint of heart. But the rhythm section knows how to play blues; this is not a rock record. "I Got You Baby" and the slow "Dana's Song" and "Dizzy Blues" are particularly impressive if not overly subtle (not that subtlety scores points in blues-rock!)." BLUES REVUE, Issue No. 85, Dec/Jan 2004, pg. 92
"After only one listen the new disc from Nuno Mindelis "Twelve Hours", the first thing I wanted to do was...listen to it again! I hate to do comparisons, but with a voice like Johnny Winter only better, and a hint of Stevie Ray Vaughan in the guitar, this disc smokes from start to finish! Blues/Rock fans are gonna eat this up. You'll wear-out this disc before you ever take it out of the tray!" Doug Bolin, 105.9 The Rock, Nashville
"This guy can write good lyrics as well as playing faultless guitar … … The lasting impression that I get from listening to this CD is how all the band members fit together so well --- the music blends all the different instruments together perfectly. All in all, a very good album --- and one that you'll listen to a lot if you buy it." Terry Clear, Blues Bytes (Sept 2003)
"A CD that'll become a Classic in Modern Blues Guitar. Remember in the 1990s when everyone was asking "Where is the next Stevie Ray V.?" In one sense it was totally absurd to be asking that question (in a literal definition) but it's been proven repeatedly (like it or not) for Blues music to do well in the marketplace we need a high profile, commercially viable artist like Stevie Ray or Johnny Winter or Robert Cray, etc. I feel that anyone who has the power and charisma to put Blues into the eyes/ears of the under 30 crowd is a blessing and a necessary ingredient for a sustained Blues boom. Of course, we all hope and pray for an artist that also possesses class and a sense of duty and commitment to the Blues and one who won't embarass the genre. Some of the "messiahs" of the last several years were lacking credibility (we won't mention their teenage names) and talents but I must say I have no qualms about throwing total support and belief behind Nuno Mindelis. … … incredible talent level driving, intense performances, stellar production plus very memorable material. I smell a megastar in the making. While many hardcore blues fans may not be too keen on giving Nuno a chance, I would suggest you listen first to the man and listen carefully. When was the last time you heard this much passion and talent combined? 1983 or 1969 would be an appropriate answer. "... … Is the world ready for a South American-based King of Blues guitar? … … 5 big bottles for a CD that'll become a classic in modern blues guitar. Nuno Mindelis has arrived." A Grigg, Real Blues magazine.
Think SRV. Nuno Mindelis, the South American beast who is coming to your town....his technical skills may be described as truly bestial...like Stevie Ray Vaughan" Ingemar Kaarlson, Jefferson Blues Magazine Issue ..136(Sweden)
"His tone and phrasing are killer..a consistently excellent CD. Loaded with Nuno's biting guitar leads, "Twelve Hours" is Nuno's best release to date. His tone and phrasing are killer, delivering tons of passion and feeling. This is a consistently excellent CD." ElectricBlues.com.
"Smoldering, blistering, and just flat out full tilt killer blues! This is the CD that I have been waiting for ever since we lost SRV back in '90, without a doubt Nuno's best stuff to date. Smoldering, blistering, and just flat out full tilt killer blues! All you up and coming blues guitarists out there better sit-up and take notice because this is how you're supposed to play the blues! Could this be a Blues/Rock CD of the year candidate? … … Nuno is a master at his craft I can't think of anyone in the game today that lets the blues flow out of him so naturally. This CD is a prime example of why they call him "The Beast"! You can't go wrong with this one, a must have CD for 2003 defiantly a Top10!!! Visit the official Nuno Mindelis website, and then pick up a copy at CD Baby.com." Reviewer: Bandit Blues Radio

Bajar Cd :

http://www.megaupload.com/?d=M8S6MFBV

CD - Johnnie Bassett - I Gave My Life to the Blues

Guitarist, singer and songwriter Johnnie Bassett grew up with blues music all around him in his native Florida. His unique ability to combine jump blues and Delta stylings gives his playing a distinctive sound.
The self-taught guitarist recalls seeing Tampa Red, Arthur "Big Boy" Crudup and other classic blues artists at fish fries in his grandmother's backyard. Bassett cites Aaron "T-Bone" Walker as a major influence, as well as B.B. and Albert King, Tiny Grimes and Billy Butler.
After Bassett's family moved to Detroit in 1944, he made his debut as a guitarist with Joe Weaver and the Bluenotes, a teenage R&B band. The group won local talent contests and were hired to back up Big Joe Turner, Ruth Brown and others on their tour stops in Detroit. Bassett went into the Army in 1958 and played in a country & western group while stationed in Washington state.
After returning to Detroit, he found work as a session guitarist for Fortune Records by day and in nightclubs at night. In the studios, he played backup to musicians and groups like Nolan Strong and the Diablos, Andre Williams and the Don Juans and the Five Dollars. He also played guitar on the first recording by Smokey Robinson and the Miracles while traveling to Chicago to record as a session man for the Chess Records label. During his Detroit days, he also accompanied John Lee Hooker, Eddie Burns, Alberta Adams, Lowell Fulson and the T.J. Fowler Band at their live shows, as well as Dinah Washington.
In the 1960s, Bassett moved to Seattle, where he backed up Tina Turner, Little Willie John and others. Jimi Hendrix was a frequent guest at the bluesman's club gigs around Seattle. Before the decade ended, he moved back to Detroit, where he's been based ever since.
In 1994, Bassett received a lifetime achievement award from the Detroit Blues Society. He later recorded an album for the Dutch Black Magic label, I Gave My Life to the Blues (1996). Bassett and his band, the Blues Insurgents — which he's been fronting since the early 1990s — have made several U.S., Canadian and European tours in support of LPs including 1997's Bassett Hound and 1998's Cadillac Blues.


---------------------------------------------------------------------------------


An excellent disc all around, available domestically and at domestic prices. The band is in a solid groove with the usual stomps, shuffles, good-time funk and delicious slow blues. During the last few years, Bassett has begun to sound less like '60s-era B.B. King and on this disc he seems to come into full bloom. The band, too, is full of first-class musicians. They draw from disperate sources and concentrate on laying down a tight foundation which lovingly supports Bassett's inventive single-string leads and chordal rhythm guitar work. In this day of gadgets and floor boxes, his sound is refreshingly clean and uncluttered and a pleasure to listen to. If you like straight-ahead electric blues, you can't go wrong with this disc.

Bajar Cd :

http://www.megaupload.com/?d=OTRI1JE7

CD - Brayn Lee-Live at the Old Absinthe House Bar ....Saturday Night

From the beginning of the opening cut, "Think," and throughout the entire show on this live CD, blues guitarist and singer Bryan Lee puts on an explosive performance full of fire and passion. Lee talks enthusiastically to the audience, giving them the background to many of the songs before shouting out his vocals, but his intense guitar flights are the most impressive feature of the album. Lee welcomes his young friends and fellow guitarists Kenny Wayne Shepherd and Frank Marino as guests on a few numbers. If anything, their participation makes the music even more fiery. With the assistance of a fine backing group that includes both organist Mark Adams and John Banks on keyboards, this CD certainly does not lack in spirit, power, or intensity.

Bajar Cd :

http://www.megaupload.com/?d=WJQO9N2K

CD - Dave Specter-Live in Europe

In a relatively short time frame, Chicago guitarist Dave Specter has found his way onto the blues equivalent of the fast track. Just over a decade ago, the towering guitarist with the carefully coiffed hair first made his presence felt as a good-natured bouncer at B.L.U.E.S., a Windy City blues mecca. Now, he's got six acclaimed albums in the Delmark catalog, every one a satisfying, challenging mix of blues (Specter lists influences including T-Bone Walker, Pee Wee Crayton, Magic Sam, and Otis Rush) and jazz (Kenny Burrell's another of his main men).
The native of Chicago's Northwest side didn't even grab a guitar until he was 18 years old, inspired by his harp-blowing older brother Howard. While working at Jazz Record Mart and in the shipping department at Delmark he took guitar lessons from Sunnyland Slim's former guitarist Steve Freund. Once he gained some skills, Freund set him up with legendary drummer Sam Lay and Howlin Wolf's guitar player Hubert Sumlin for a tour. At this time he was also working at B.L.U.E.S., making valuable contacts on the job that led to sideman gigs with Johnny Littlejohn, Son Seals, and the Legendary Blues Band before he assembled his own outfit, the Bluebirds, in 1989.
Since Specter doesn't sing, he recruited deep-voiced crooner Barkin' Bill Smith as his first vocalist. The two shared the spotlight on Specter's alluring 1991 Delmark debut, Bluebird Blues. After Smith departed, Specter latched on to another West side veteran, Jesse Fortune, backing the singer on his 1993 Delmark set Fortune Tellin' Man. Dazzling harpist Tad Robinson took over frontman duties for the Bluebirds' 1994 disc Blueplicity and Live in Europe the next year. California harpman Lynwood Slim became the band's resident singer when Robinson left.
Jazz is growing increasingly prominent in Specter's evolving guitar attack. He imported legendary jazz organist Brother Jack McDuff to provide a Hammond B-3 cushion for his 1996 Delmark project Left Turn on Blue. In 1998 he returned with a new singer, Lenny Lynn, and a new record for Delmark, Blues Spoken Here. For 2000s Speculatin' Spector did away with vocals and cut 13 instrumentals. Is What It Is appeared in 2004, followed by Live in Chicago (a DVD of the same show was also issued) in 2008, all on the Delmark imprint.
Squeezing frequent European tours in between a myriad of local gigs, Specter wears his love for swinging blues tradition on his sleeve, and it fits him well.

Bajar Cd :

http://www.megaupload.com/?d=ASTEO9BT

CD - Albert Cummings and Swamp Yankee-The Long Way

Breaking every cliché associated with the blues while producing some of the most powerful music of the 21st century comes as natural to Albert Cummings as swinging a hammer while constructing one of his award-winning custom built homes. The Massachusetts native learned the requisite three chords on the guitar from his father, but then switched to playing banjo at age 12 and became a fan of bluegrass music. Like everything he tackles, he threw himself headlong into the pursuit, going to festivals and winning several picking contests in high school. Before graduating he heard the early recordings of Stevie Ray Vaughan, however, and was floored by the virtuosity. While in college in 1987 he saw Vaughan perform and he returned to the guitar with a new outlook and resolve. He had another tradition to live up to first, however, and he studied the building trade in order to follow his family into the home building business. Not until he was 27, an age when other musicians were either already established or had long ago put their dream aside for the realities of life, did Albert finally decide to go for it.
An intense period of wood shedding resulted Albert sharing a bill with Double Trouble, the late Stevie Ray Vaughan's rhythm section. So taken with Albert's fire and passion were bassist Tommy Shannon and drummer Chris Layton that they volunteered to play on and produce his debut recording. In 2003 the aptly-titled From the Heart (Under the Radar), with the awesome power of a Nor'easter and the soul of a natural born artist. No less a giant of the blues than B.B. King, who Cummings acknowledged with a funky version of 'Rock Me, Baby,' dubbed Cummings 'a great guitarist.' In an era of cowboy-hatted poseurs, Cumming delivered the goods straight from the heart and shoulder with a wallop generated by his talent rather than his wardrobe.
A year later Double Trouble joined Cummings again as he signed with Blind Pig Records to create True to Yourself. This time they brought in legendary producer Jim Gaines to control the sessions. The all-original release further showcased Albert's rapidly developing songwriting chops and deeply emotional vocals as well as stunning guitar pyrotechnics that put the metallurgical properties of his strings to the test. Tours and shows with blues legends B.B. King, Johnny Winter, Buddy Guy and others brought his music to an audience grateful for the opportunity to be rocked hard by a man possessed to play every song like his life depended on it.
Working Man (Blind Pig), Albert's summer of 2006 blockbuster release, is the culmination to date of a guitar hero's career just taking off. A punchy, stomping cover of Merle Haggard's blue collar standard 'Working Man Blues' brings it all home for the master builder and musician. The swinging Texas blues of 'Please,' the instant barroom boogie classic 'Party Right Here,' the snaky slow drag 'Rumors' and the rousing rocker 'Feeling End' show variety well beyond the typical slow blues and shuffles of so much contemporary music. The deeply emotive ballad 'Last Dance' that closes the disc is so evocative that a Hollywood movie could be written around it.
Albert Cummings is a man of his times and the man for the times. As he has done with his innovative homes, he has taken tradition and built his own musical edifice that expresses his thoughts and dreams. It is a vision that alternately excites and soothes while also clearly providing a glimpse of his unlimited future. The best is yet to come.

Bajar Cd :

http://www.megaupload.com/?d=LXFPUHM2