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https://www.myspace.com/duwayneburnside
Origine du Groupe : North America
Style : Blues Rock
Tracklist :
1.Pressure
2.Why You Act Like That
3.Tribute
4.Gotta' Pretty Woman
5.She Threw My Clothes Out
6.Treatin' Me So Bad
7.Bad Luck City
8.King
9.I Got The Blues
10.Hard Candy Part II
https://www.myspace.com/leftlanecruiser
Origine du Groupe : North America
Style : Punk Rock Blues
Sortie : 2012
By The Triggerman from http://www.savingcountrymusic.com
Holy shitballs.
Listen to me folks, GET THIS ALBUM! I know it’s my job as some high fallutin’ music writer to come up with a bunch of stuff to say about music. But after listening to Painkillers, if I were you, I’d skip all the gabbing and just go get it. And then find the biggest, loudest audio player you can procure and crank it to 10. If you want to flatter me, come back and read the rest at some other point.
The merging of Black Diamond Heavies keys player James Leg with the dirty punk blues duo Left Lane Cruiser known as Painkillers is not a cover album. No, it’s a concept album. Yes, it is made of all covers, songs like “Come to Poppa” made popular by Bob Seger, “When The Levee Breaks” by Led Zepplin, but this is a concept album in the truest sense. Concept is what so many albums are lacking these days, and how this album takes a rag tag of recognizable songs from the rock and blues worlds and makes them into a remarkable collection that marks the most viscerally-satisfying album I have heard so far this year. Wanton, ribald, reckless, and uninhibited, Painkillers will have you slam dancing and pissing off the neighbors.
Painkillers isn’t just a catchy idea to sketch some cover art around, it is the idea this album is built from, to take a bunch of timeless, kick ass songs, give them the dirty, heavy-handed Left Lane Cruiser/James leg punk blues treatment, with the result being an album that is perfectly concocted to kill pain. That’s what’s so genius about it. If they had released a batch of original songs under this concept, the painkilling would just be a placebo. By taking songs we all know and love already, songs that mean something to us, the medicine is potent, fast-acting, striking right at your gut.
How’s the instrumentation on the album? The approach? Dirty. Real dirty. Nasty, filthy. All the songs are awash in a mess of gritty reverb and distortion. Don’t come here looking for any lightning-fast chicken-picking licks to tinkling of keys, this is about immersing you in a wall of sound. And though the nasty, dirty punk blues approach may not be for everyone, the song selections are. Pure genius went into picking these songs. For me personally, I didn’t care for some of the blues standards, but “Chevrolet” made famous by Taj Mahal, and The Rolling Stones’ “Sway” are two of my favorite songs of all time, and to hear the James Leg/Left Lane Cruiser tandem do their worst with them was a gift tantamount to a pull of nectar from a goddesses nipple.
One word of caution: Yes, Painkillers is habit forming. (Come on, did you think I was going to make it all the way through this review without some drug cliches?) And just like many albums that pull you right in on the first play, Painkillers can lose its potency rather quickly. But after you set it down for a few days, you will find it calling you back once again.
No joke, if you’re depressed, lonely, angry, sad, whatever, as prescribed, Painkillers will get you to feeling right.
Two guns up!
Tracklist :
01. Sad Days Lonely Nights (3:18)
02. She's Gone (3:13)
03. Come To Poppa (3:50)
04. Red Rooster (2:55)
05. If 6 Was 9 (3:48)
06. Shake It (5:21)
07. Ramblin On My Mind (2:55)
08. Chevrolet (2:34)
09. When The Levee Breaks (4:24)
10. Sway (3:23)
http://www.nitetripper.com
https://www.myspace.com/drjohnthenitetripper
Origine du Groupe : North America
Style : Alternative Rock
Sortie : 2012
By Randall Roberts from http://latimesblogs.latimes.com
It may come as a surprise that the character of Dr. John, whose new album, “Locked Down,” comes out Tuesday, was birthed in Los Angeles. The mythical voodoo pianist-conjurer is so intertwined with the stories, secrets and rituals of New Orleans that to suggest he is anything but the embodiment of the bayou borders on heresy.
But Dr. John — that is, the persona created by New Orleans singer, songwriter and pianist Malcolm John Michael Creaux “Mac” Rebennack — was imagined and realized in the entertainment capital of the world after the young pianist moved west to find work as a session player in 1965. It was here, after hooking up with a posse of fellow New Orleans musician expats and playing on some big L.A. hits of the era, that Rebennack started brainstorming a solo career and struck up the idea of a persona.
The one he came up with has endured for 45 years and has become a New Orleans archetype, so much so that his less inspired work over the decades has bordered on self-parody. His producers’ worst reflexes have been to highlight his New Orleans drawl, create funky rhythm, roll out a catchy melody on the piano, stir in some gumbo lyrics about second-line brass bands and then punctuate with horns.
But then, as if conjured out of the air, his new record, “Locked Down,” arrives, and it is one of the best of his career. As Bob Dylan did with “Time Out of Mind” and Tom Waits did last year with “Bad as Me,” Dr. John does here: exiting a period of relative creative stagnation by creating something magical, the embodiment of everything he’s done but pushed in a clear new direction.
Produced in Nashville by Dan Auerbach, singer and guitarist for the Black Keys, “Locked Down” reunites the man (Rebennack is now 71 years old) who was inspired by James Booker, Professor Longhair and Fats Domino with the abstract mystic Dr. John.
In his 1994 autobiography, “Under a Hoodoo Moon,” Rebennack describes that mystic as “a medicine man who claimed to be a prince of Senegal before he was abducted and taken to Cuba.”
He came up with the idea while living with a community of roustabouts in a Melrose Avenue building misleadingly called the Hollywood Executive Hotel and recorded Dr. John’s debut album, “Gris-Gris,” a swamp rock classic, at Gold Star Studios with off-hours studio time paid for by Sonny and Cher. This creation has endured through swamp rock gems such as “In the Right Place” and “Dr. John’s Gumbo,” both produced by New Orleans compadre Allen Toussaint, and has found remarkable rejuvenation on “Locked Down.”
This is due in no small part to Auerbach, who has merged the man with the myth by directing the project, compiling the band, playing guitar and setting a course.
As producer, Auerbach gathered the musicians, and what he came up with is stunning. Drummer Max Weissenfeldt, a drummer who has played with acts as varied as the Heliocentrics and the No Neck Blues Band and whose wild snare patterns propel songs from continent to continent with each measure, shines everywhere he hits. Horn arranger Leon Michels is the founder of the Truth & Soul label, has collaborated with both soul crooner Lee Fields and Wu-Tang Clan’s Raekwon; his brass bursts punctuate choruses and bridges. Bassist Nick Movshon’s roaming basslines are all over Amy Winehouse’s “Back to Black,” and guide songs with both grace and urgency.
Rebennack cited West African instrumental music of the 1950s and ’60s recommended by Auerbach as an influence on this record. It’s especially noticeable on one of the album’s most thrilling songs, “Revolution,” which features a doubled-up baritone sax pushing forward a deep, driving melody that recalls Ethiopian Afro-jazz expert Mulatu Astatke, a humming organ solo by Rebennack that jumps around like a tripped-out Sun Ra freakout, and a wild but controlled drum excursion by Weissenfeldt.
Every instrumental break on “Locked Down,” though, is as kaleidoscopic. In “Big Shot,” the saxophone-heavy bridge arrives like a water balloon to the head, this big burst of joyous surprise. “Ain’t no one ever gonna be like me,” declares the doctor, and you’ve got no doubt that he’s right. “I’m the big shot.” (If David Chase were still making episodes of “The Sopranos,” he’d no doubt have harnessed “Big Shot” for a bloodied murder scene involving Tony.)
Lyrically, though, the mask has been taken off, and we see Rebennack not only as a Saturday night voodoo king but also as a Tuesday morning man waking up after a weekend bender and trying to come to terms with what went down over the last 72 hours. Especially on the album’s closing numbers, the erstwhile Dr. John offers intimate, personal lyrics about the importance of family and the generosity of God. “God’s been better to me than I’ve been to myself,” he sings on the album’s closer, and he sounds both repentant and amazed to make it out the other side.
https://www.myspace.com/leftlanecruiser
Origine du Groupe : North America
Style : Punk Rock Blues
Sortie : 2012
By The Triggerman from http://www.savingcountrymusic.com
Holy shitballs.
Listen to me folks, GET THIS ALBUM! I know it’s my job as some high fallutin’ music writer to come up with a bunch of stuff to say about music. But after listening to Painkillers, if I were you, I’d skip all the gabbing and just go get it. And then find the biggest, loudest audio player you can procure and crank it to 10. If you want to flatter me, come back and read the rest at some other point.
The merging of Black Diamond Heavies keys player James Leg with the dirty punk blues duo Left Lane Cruiser known as Painkillers is not a cover album. No, it’s a concept album. Yes, it is made of all covers, songs like “Come to Poppa” made popular by Bob Seger, “When The Levee Breaks” by Led Zepplin, but this is a concept album in the truest sense. Concept is what so many albums are lacking these days, and how this album takes a rag tag of recognizable songs from the rock and blues worlds and makes them into a remarkable collection that marks the most viscerally-satisfying album I have heard so far this year. Wanton, ribald, reckless, and uninhibited, Painkillers will have you slam dancing and pissing off the neighbors.
Painkillers isn’t just a catchy idea to sketch some cover art around, it is the idea this album is built from, to take a bunch of timeless, kick ass songs, give them the dirty, heavy-handed Left Lane Cruiser/James leg punk blues treatment, with the result being an album that is perfectly concocted to kill pain. That’s what’s so genius about it. If they had released a batch of original songs under this concept, the painkilling would just be a placebo. By taking songs we all know and love already, songs that mean something to us, the medicine is potent, fast-acting, striking right at your gut.
How’s the instrumentation on the album? The approach? Dirty. Real dirty. Nasty, filthy. All the songs are awash in a mess of gritty reverb and distortion. Don’t come here looking for any lightning-fast chicken-picking licks to tinkling of keys, this is about immersing you in a wall of sound. And though the nasty, dirty punk blues approach may not be for everyone, the song selections are. Pure genius went into picking these songs. For me personally, I didn’t care for some of the blues standards, but “Chevrolet” made famous by Taj Mahal, and The Rolling Stones’ “Sway” are two of my favorite songs of all time, and to hear the James Leg/Left Lane Cruiser tandem do their worst with them was a gift tantamount to a pull of nectar from a goddesses nipple.
One word of caution: Yes, Painkillers is habit forming. (Come on, did you think I was going to make it all the way through this review without some drug cliches?) And just like many albums that pull you right in on the first play, Painkillers can lose its potency rather quickly. But after you set it down for a few days, you will find it calling you back once again.
No joke, if you’re depressed, lonely, angry, sad, whatever, as prescribed, Painkillers will get you to feeling right.
Two guns up!
Tracklist :
01. Sad Days Lonely Nights (3:18)
02. She's Gone (3:13)
03. Come To Poppa (3:50)
04. Red Rooster (2:55)
05. If 6 Was 9 (3:48)
06. Shake It (5:21)
07. Ramblin On My Mind (2:55)
08. Chevrolet (2:34)
09. When The Levee Breaks (4:24)
10. Sway (3:23)
http://www.warrenhaynes.net
https://www.myspace.com/warrenhaynesmusic
Origine du Groupe : North America
Style : Blues Rock
Sortie : 2011
From http://bluesrockreview.com
It’s hardly coincidence that Man in Motion, the latest project from Warren Haynes, is also a spot-on way to describe the album’s creator. After touring and recording extensively with The Allman
Brothers, Gov’t Mule, and The Dead, is it surprising that Warren found time to cut a solo album? Surprising – no, not to those that follow Warren. Anticipated and appreciated? Yes, you’d better
believe it.
In his first solo studio recording in 18 years, it is a wonderful treat to listen to Warren pour it out in this soulful, personal piece of work. Warren’s guitar is present as always, but the
power of Man in Motion lies in the passionate, penetrating vocals that provide a glimpse into the soul of the singer himself. Add to that the arsenal of keys, sax, and backing vocals from
world-class talent, and out comes Man in Motion, a soul-driven blend of the modernity and roots that make Warren shine.
Man in Motion kicks off with the title track and single, “Man in Motion.” From there, Warren displays his adventurous, diverse style in cuts like “River’s Gonna Rise” and “Sick of My Shadow,”
songs with a ton of groove and force. His inspiring vocals drive songs like “Everyday Will Be Like A Holiday” (originally by William Bell), “Your Wildest Dreams,” and “Save Me.” This ten-song
album, from start to finish, is charged with inspiration. It is a piece of work that should be appreciated and enjoyed plentifully.
Tracklist :
01. Man In Motion 07:52
02. River's Gonn Rise 06:51
03. Everyday Will Be Like A Holiday 05:29
04. Sick Of My Shadow 06:56
05. Your Wildest Dreams 07:18
06. On A Real Lonely Night 07:38
07. Hattiesburg Hustle 06:33
08. A Friend To You 05:44
09. Take A Bullet 05:24
10. Save Me 06:16
http://www.henrysfuneralshoe.com
http://www.myspace.com/henrysfuneralshoe
Origine du Groupe : U.K
Style : Alternative Rock Blues
Sortie : 2011
By Alan
Brown from http://www.popmatters.com
As the plaintive acoustic closing track of debut album Everything’s For Sale suggested, there’s more to Welsh power duo Henry’s Funeral Shoe than early ‘70s-inspired pedal-to-the-metal punk-blues
rawk ‘n’ roll. With the follow-up Donkey Jacket, the Clifford brothers, Aled (vocals/guitars) and Brennig (drums/percussion), skillfully demonstrate this by crossing the borderline between
electric-blues-powered rock-a-boogie and acoustic country-blues more than once during the varied course of the album’s 10 songs. While listening, you even get the sense that, as with LPs of
yore, time was actually spent on putting together the track list. “Bottom to the Top”, with the help of John “Ned” Edwards on slide guitar and mandolin, travels a similar country-blues trail to
Holly Golightly and the Brokeoffs, while other highlights include the brooding, electric southern gothic of “The Walking Crawl”, and the beautiful love song “Heart on Fire”. Like all great
second albums, this builds upon the first and makes you long to hear the third.
Tracklist :
01. Be Your Own Invention (5:19)
02. Love Is A Fever (3:31)
03. Bottom To Top (3:14)
04. Anvil & Chains (2:30)
05. Dog Scratched Ear (4:37)
06. Mission & Maintenance (3:41)
07. The Walking Crawl (4:25)
08. Heart On Fire (3:41)
09. Gimme Back My Morphine (3:04)
10. Across The Sky (4:14)
http://www.henrysfuneralshoe.com
http://www.myspace.com/henrysfuneralshoe
Origine du Groupe : U.K
Style : Alternative Rock Blues
Sortie : 2011
By Alan
Brown from http://www.popmatters.com
As the plaintive acoustic closing track of debut album Everything’s For Sale suggested, there’s more to Welsh power duo Henry’s Funeral Shoe than early ‘70s-inspired pedal-to-the-metal punk-blues
rawk ‘n’ roll. With the follow-up Donkey Jacket, the Clifford brothers, Aled (vocals/guitars) and Brennig (drums/percussion), skillfully demonstrate this by crossing the borderline between
electric-blues-powered rock-a-boogie and acoustic country-blues more than once during the varied course of the album’s 10 songs. While listening, you even get the sense that, as with LPs of
yore, time was actually spent on putting together the track list. “Bottom to the Top”, with the help of John “Ned” Edwards on slide guitar and mandolin, travels a similar country-blues trail to
Holly Golightly and the Brokeoffs, while other highlights include the brooding, electric southern gothic of “The Walking Crawl”, and the beautiful love song “Heart on Fire”. Like all great
second albums, this builds upon the first and makes you long to hear the third.
Tracklist :
01. Be Your Own Invention (5:19)
02. Love Is A Fever (3:31)
03. Bottom To Top (3:14)
04. Anvil & Chains (2:30)
05. Dog Scratched Ear (4:37)
06. Mission & Maintenance (3:41)
07. The Walking Crawl (4:25)
08. Heart On Fire (3:41)
09. Gimme Back My Morphine (3:04)
10. Across The Sky (4:14)
http://www.myspace.com/theblackkeys
Origine du Groupe : North America
Style : Alternative Rock , Blues Rock , Psychedelic Rock
Sortie : 2011
By Jay Mattson from http://obscuresound.com
The Black Keys kind of lost their edge last year with Brothers. While it was a good album, it didn’t reach the highs and lows that 2008’s Attack & Release or even 2006’s Magic Potion could
hit. Instead, it opted to swim around and explore an odd middle ground. It was a good experiment, probably one they created to to see what they could do in that spectrum. This year, The Black
Keys return to form with El Camino. This album presents everything Dan Auerbach and Patrick Carney have built as The Black Keys, just exemplified more; the blues are bluesier, the guitar solos
are more energetic, the minimalism is more precise, and the lyrics are more carefully chosen. El Camino is greater than the sum of its parts.
Just a few weeks ago, the video for “Lonely Boy”, the first single and album opener, went viral. The band’s penchant for creating a world-slightly-warped is obvious, as the video features a
nameless black fellow dancing along with the track as he obviously reads the lyrics from off-camera cue cards. And while the video inspired quite a few laughs, it was truly the music that created
a new momentum not achieved by the band since 2008. With Auerbach’s howling voice and Carney beating his drums senseless, the band finds the energy that radiated off of 2003’s Thickfreakness.
Beyond the first single, Auerbach and Carney showcase a creative explosion that came together as El Camino; it’s an album that feels like the next step in the Black Keys’ growth as a band, while
still paying homage to their already diverse discography. This is most apparent on “Little Black Submarines”, a song nearly as double-sided as the entire album. The first half saunters about with
a simple acoustic/tambourine melody that would be a fantastic song if stretched to a full four minutes. As it were, the two-minute mark sends the band into one of the heaviest, most powerful
riffs I’ve ever heard.
“Dead and Gone” and “Gold on the Ceiling” evokes a Magic Potion-era sound, heavier on the distortion and murky guitar work overlaid with multi-track vocals. The latter could be the spiritual
successor to “Your Touch”, a song that the Keys have lent out to a plethora of worthy other media.
Taking a loftier approach, “Money Maker” is a comeback for the Rubber Factory sound, one that included more than the guitar/drum combo most prevalent on Keys recordings. And while there doesn’t
seem to be even a third instrument, this band has always been able to create a larger-than-life sound with six strings and some drums. Such is not the case on the disappointing “Sister”, a song
that sounds half-baked and skeleton-like. It’s not much in the way of a meaty instrumental or vocal work, sounding as if the group is reaching a little too hard for an accessible hit. The track
does eventually find a satisfactory groove, but it still sounds too hollow and repetitive. This and the generic “Stop Stop”, which sounds too much like a Gnarls Barkley production, are rare
missteps on an otherwise excellent album.
Sort of a “Lonely Boy” 2.0, “Hell of a Season” entertains a similar song structure and melody while taking a much more melancholy approach to the chords. It’s darker, more slippery, and sultrier
than “Lonely Boy”, but trades the former’s infectious energy to attain those characteristics. “Nova Baby” recalls the Keys’ love of Buddy Holly, as evidenced by their cover of “Dearest” for Rave
On Buddy Holly!, with a jaunty melody that’s smoothed over to emulate the feeling of a late-‘50s recording.
The album closes with “Mind Eraser”, a fine track that finds the Keys exploring their soulful side. While soul has always been one of their influences, “Mind Eraser” sounds more akin to a Sharon
Jones track than anything from Brothers or Attack & Release.
The Black Keys are an exceptional band that continually release quality material. Many bands and artists over the past ten years have found it increasingly difficult to adapt and grow without
losing their original appeal. Auerbach and Carney have found a formula (and producer in Danger Mouse) that works for them. The continuous fruits of that formula are evident in each new release.
El Camino is by far the best Black Keys album in the past five years, and possibly their best to date.
Tracklist :
01 – Lonely Boy
02 – Dead And Gone
03 – Gold On The Ceiling
04 – Little Black Submarines
05 – Money Maker
06 – Run Right Back
07 – Sister
08 – Hell Of A Season
09 – Stop Stop
10 – Nova Baby
11 – Mind Eraser
http://www.myspace.com/grinderman
Origine du Groupe : Australia
Style : Alternative Rock Blues , Experimental
Sortie : 2010
Par Damien pour http://ziknation.com
Parmi tout les superlatif qui me traversaient l’esprit après l’écoute du premier opus de Grinderman, le projet « secondaire » de Nick Cave et de trois membres de ses Bad Seeds (Warren Ellis, Jim
Sclavunos et Martin Casey), venait se glisser une crainte : « pourvu que ça ne soit pas le groupe d’un seul album »!
Fort heureusement cette crainte ne s’est pas réalisée et le groupe nous revient avec une nouvelle oeuvre judicieusement titrée Grinderman 2.
Alors qu’en est il? :
– Blues experimental déjanté… check
– Bad trip psychédélique… check
– Country amphetamine… check
– Garage à la Stooges… check
Le groupe demeure en zone d’inconfort et ce disque est tout aussi intense que le précédent Grinderman!! Tout ça est inquiétant à souhait et terriblement sexy! Les attaques de larsen sont parfois
plus brutales même si l’on sent sur quelques piste de cet album qu’il est plus « nuancé », proposant un What I Know sombre et tout en retenue ou l’étonnante Palaces of Montezuma aux couleurs pop
FM des années 70. Vous l’aurez compris j’adore cet album et si vous ne l’avez pas encore écouté, je crois qu’il est temps!
Tracklist :
01. Mickey Mouse and the Goodbye Man
02. Worm Tamer
03. Heathen Child
04. When My Baby Comes
05. What I Know
06. Evil
07. Kitchenette
08. Palaces of Montezuma
09. Bellringer Blues
http://www.myspace.com/grinderman
Origine du Groupe : Australia
Style : Alternative Rock Blues , Experimental
Sortie : 2010
Par Damien pour http://ziknation.com
Parmi tout les superlatif qui me traversaient l’esprit après l’écoute du premier opus de Grinderman, le projet « secondaire » de Nick Cave et de trois membres de ses Bad Seeds (Warren Ellis, Jim
Sclavunos et Martin Casey), venait se glisser une crainte : « pourvu que ça ne soit pas le groupe d’un seul album »!
Fort heureusement cette crainte ne s’est pas réalisée et le groupe nous revient avec une nouvelle oeuvre judicieusement titrée Grinderman 2.
Alors qu’en est il? :
– Blues experimental déjanté… check
– Bad trip psychédélique… check
– Country amphetamine… check
– Garage à la Stooges… check
Le groupe demeure en zone d’inconfort et ce disque est tout aussi intense que le précédent Grinderman!! Tout ça est inquiétant à souhait et terriblement sexy! Les attaques de larsen sont parfois
plus brutales même si l’on sent sur quelques piste de cet album qu’il est plus « nuancé », proposant un What I Know sombre et tout en retenue ou l’étonnante Palaces of Montezuma aux couleurs pop
FM des années 70. Vous l’aurez compris j’adore cet album et si vous ne l’avez pas encore écouté, je crois qu’il est temps!
Tracklist :
01. Mickey Mouse and the Goodbye Man
02. Worm Tamer
03. Heathen Child
04. When My Baby Comes
05. What I Know
06. Evil
07. Kitchenette
08. Palaces of Montezuma
09. Bellringer Blues
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