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http://rapidshare.com/files/185937662/ParisBlues.rarOne of the foremost electric blues harpists of the modern era, Sugar Blue was born James Whiting in New York City in 1950. Sugar Blue relocated to Paris in 1976, where he was introduced to the Rolling Stones; he went on to play on the group's LP's Some Girls, Emotional Rescue and Tattoo You, lending his skills to such hits as "Miss You." Before returning to the U.S. in 1982, Blue cut a pair of albums, Crossroads and From Paris to Chicago.
Blue went on to spend two years touring with his friend and mentor Willie Dixon as part of the Chicago Blues All Stars before putting his own band together in 1983.
With his own band, Blue's star continued to rise. He received the 1985 Grammy Award for his work on the Atlantic album, Blues Explosion, recorded live at the Montreux Jazz Festival.
He recorded on Dixon's Grammy-winning Hidden Charms album in 1989.
Sugar Blue incorporates what he has learned into his visionary and singular style, technically dazzling yet wholly soulful. He bends, shakes, spills flurries of notes with simultaneous precision and abandon, combining dazzling technique with smoldering expressiveness and gives off enough energy to light up several city square blocks...
And sings too! His distinctive throat tends to be overlooked in the face of his instrumental virtuosity - he's got a rich, sensual voice with a whisper of huskiness which by itself would be something out of the ordinary. But oh, there's that harmonica again...

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Password: blues-powerhttp://rapidshare.com/files/197189313/BS-1999.rarJust like its title, Sims' eponymous PBS / Warner Brothers debut is unpretentious and solid: it's this singer-guitarist's personal overview of the blues. Sims' voice at its most soulful suggests a blues Gil Scott-Heron or Lou Rawls - smooth, deep rather than flashy, and bittersweet. Some of his guitar solos somehow sound like that too. He transforms "Nobody's Fault But Mine" into a back-porch banjo stomp, and tunes by Big Bill Broonzy and Charlie Patton into shifty New Orleans second-line funk. He also breaks down a mournful version of Howlin' Wolf's "Mr. Airplane Man," and brings onboard saxophonist Chico Freeman to intensify the slow-burning R&B heat in "Smoky City."

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Blues Revue magazine proclaimed Lucky Peterson's "Move" as the best blues CD of 1998
As talented as he is versatile, Peterson covers many bases on this 1998 collection of soul-drenched blues. He mostly showcases his adventurous guitar on raw West Side Chicago romps, funky Clarinet workouts, and jump blues. The superior cover of Ray Charles' "Let's Go Get Stoned" combines his raspy, emotional vocal with gospel-flavored piano, while his sneaky electric piano transforms Prince's "Purple Rain" into Hendrix's "Wind Cries Mary." Perhaps his talent leaves him too many options: While his guitar playing is certainly a force, his keyboard work is truly outstanding and deserves to be brought to the forefront more often.
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http://rapidshare.com/files/206985663/t-model_ford_badman.rarLegendary Memphis producer Jim Dickinson has nailed the vibe of this octogenarian Delta bluesman's rag-tag club and juke-joint gigs. That's good for purists, but not necessarily for fans of Ford's previous Fat Possum albums. The foot-stomping irrationality and whimsical violence of earlier numbers like the barking "To the Left, To the Right" and "If I Had Wings" have been traded for Ford's dusty-throated Howlin' Wolf imitations ("Ask Her for Water" and "Backdoor Man"), low-key dynamics, and meandering tempos. The sole surprise is "The Duke," an instrumental with Dickinson providing moonshine-inspired barrelhouse piano. Strip away Ford's legitimate eccentricities, which the label's house production team has played up in the past, and he's merely a competent guitarist with a drummer-sidekick, Spam, who knows just two patterns. The roughly autobiographical title track does tap Ford's reserve of twisted energy a bit as it totters over a dizzy roadbed of drunken chords and slide licks while he groans about his lost gun. But too often, Ford sounds more tired than tough here.

Otis Taylor (born July 30, 1948, Chicago, Illinois) is an African American blues musician. He is a multi-instrumentalist whose talents include the guitar, banjo, mandolin, harmonica, and vocals. In 2001, he was awarded a fellowship to the Sundance Film Composers Laboratory.
By his mid-twenties he had been a member of several blues rock groups, including T&O Shortline (with the legendary Tommy Bolin of Deep Purple) and his own Otis Taylor Blues Band, and played throughout America and Europe.
When a number of projected recordings contracts fell through in the mid-70s, Taylor opted to start a career in antiques. The success of his new line of work meant Taylor was unable to dedicate any time to music, and effectively retired from the entertainment business for nearly 20 years. He was persuaded to begin performing again by musical associate Kenny Passarelli, and in 1995 played his first gig since the mid-70s. His debut recording, Blue-Eyed Monster, was released in 1996. The album's stark lyrical themes and fascination with African-American history and mythology marked Taylor out as a challenging new voice on the northern blues scene. His interpretation of electric country blues grew even darker on subsequent releases When Negroes Walked The Earth (1997) and White African (2001), the latter the first of his albums to gain national distribution and the catalyst for his being named Best New Artist at the W.C. Handy Blues Awards.
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