Sonny Landreth - The Road We're On - 2003.

Review:

Following a few years after Levee Town, an album tightly focused on a specific place and time, Landreth dedicates The Road We're On to the more intangible magic of the blues. The music this time scans a vast panorama, from the Texas shuffle of "All About You" and zydeco pulse of "Gone Pecan" through the tub-thump beat of some Bayou dive on "Juke Box Mamma." Aside from a couple of cuts on which he plays standard guitar, Landreth fills this album with wizardly slide work: A shimmering lick at the end of "A World Away" provides the most gorgeous sonic moment, though his extended jam on the environmental call to arms "Natural World" sustains a high level of intensity through several choruses. On most of these tracks Landreth performs in a raw trio setting, almost all the time recording live; on "Hell at Home" he even keeps the scratch vocal, rather than overdub a fresh version, because the four-beat groove, reminiscent of "Walking Blues" on Paul Butterfield's East-West, is so in-the-pocket. With more focus on the playing and less on studio polish than he's shown in years, Landreth affirms his mastery in all the feels of The Road We're On and, more importantly, reminds listeners that bottomless power still lives in the body of the blues.

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mississippimoan
FLAC - 375 Mb

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http://www.filefactory.com/file/b30b332/n/sltrwo_part2_rar
http://www.filefactory.com/file/b30b375/n/sltrwo_part3_rar

Guy Davis - Chocolate to the Bone - 2003.

Review:

With each new release, the clothes of an old bluesman fit Guy Davis more and more comfortably. By now the blues are completely a part of who he is, so when he reworks an old Sleepy John Estes song into the opener, "Limetown," it feels completely natural; even with the familiar "Rollin' And Tumblin'" riff. He mixes it up well between covers and originals, taking in quite a range -- there's John Lee Hooker, Willie Dixon, and Blind Lemon Jefferson all sitting amicably together in his style; as well as some pieces like "Step It Up And Go" that are just plain old. His own material is less familiar, of course, but just as good, with the careful (if not wholly accurate) patina of age about it. Perhaps the best thing about Davis is that he never tries to be something he's not; there's no fake Southern accent. What you hear is what you get. And while he's hardly the guitar genius that Charley Patton and Robert Johnson were, he's more than adequate, and his excellent band backs him up solidly and subtly, never stepping out too far. There's plenty of talent in Davis, but there's also an obvious and deep love for the blues, especially the rural country blues, and he brings to his music a real timelessness. The man just keeps getting better and better.

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mp3 320 kbps - 111 Mb
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Gene Taylor - Gene Taylor - 2003.

Dirty:

I really like this one a lot, the whole album is very enjoyable and the tones are amazing!


Tracks:
1-Pinetop's Boogie-Woogie
2-Sugar Bee
3-Mississippi Heavy Water Blues
4-Pete's Thing
5-Blues For Jerry West
6-Santa Fe
7-Honky Tonk Train Blues
8-Six Weeks Old Blues
9-This World
10-The Loser And The Wheel
11-Ya Ya
12-Is There Peace


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mp3 320 kbps - 100 Mb
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Robert Belfour - Pushin' My Luck - 2003.

Review
Robert Belfour's sophomore effort for Fat Possum -- at 63, he is one of the youngest artists on the roster and is by far the most "polished," if the Delta blues can ever really be called that -- proves his debut was indeed only a beginning. In stark contrast to his labelmates, Belfour strictly plays acoustic blues, but he plays them with the same dark, trancelike feel of Junior Kimbrough, haunting spookiness of Fred McDowell, rhythmic intensity of John Lee Hooker, and sprawling drawl of Lightnin' Hopkins. Ted Gainey aids Belfour on a drum kit. While the first album was all of a piece, and everything but the vocal seemed to be recorded at the same level (and even then, Belfour couldn't always be understood among the ringing guitars and shuffling drums), Pushin' My Luck is nervier, a bit more edgy. Belfour's truly nearly unbelievable singing is a bit more in the foreground, enough to add to the hypnotic repetition in his music, while the drums -- played no more elaborately than Meg White's in the White Stripes -- are mixed just a tad higher, bringing it extremely close to the punch this stuff has when played in front of a live audience. Fans of Kimbrough's guitar playing -- or Ali Farka Toure's, for that matter -- will be instantly drawn to the polyrhythmic, droning chords and ambling, elegantly raw, slippery fills that Belfour plays, whether it's on "Hill Stomp," the title track, "I Got My Eyes on You," "Sweet Brown Sugar," or "I'm Gonna Leave," which closes the set. The vibe is the same everywhere; this is deep, hot Mississippi blues full of a slow, steamy, writhing sexual vibe; twisted soul; and a sense of foreboding mystery that cannot be mentioned, let alone explained. This is the first great blues record of 2003 and if it isn't nominated for the W.C. Handy Award, the damned foundation should be disbanded on the basis of deafness. I hope this guy lives to be a 100 and makes a record every year he's on this planet. Forget everything you just read: This record is amazing; just buy it.

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mississippimoan
mp3 67 Mb
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