At Home in Arkansas September 2020

PALLBEARER are back with new album, »Forgotten Days«. Carefully plotted throughout 2019, the quartet's fourth long-player eschews the compositional maximalism that hoisted predecessor »Heartless« aloft for the heaviest groove and the most visceral hooks to come out of the Arkansans to date. Spread across eight towering tracks, »Forgotten Days« sees PALLBEARER embracing their roots again, but this time with a doom-infused metallic spark that's infectious and transcendent. Indeed, this album is everything a PALLBEARER fan could love. It is a raw and riveting evolution, filled with emotion and the unique downcast exuberance that has defined the band's storied career.

One of the most celebrated singer/songwriters of her generation, Lucinda Williams was also a fiercely independent artist who had to fight for the creative freedom that allowed her to do her best work. The daughter of a well-respected poet, Williams brought a literacy and sense of detail to her work that was unpretentious but powerfully evocative and emotional, which led to a number of major artists covering her tunes while she was still establishing herself as a performer. As a vocalist, Williams used the rough edges of her instrument to her advantage, allowing the grit of her voice to heighten the authenticity of her performance.

Howlin' Wolf - Big City Blues (2021) {Modern–Soul Jam 806186 rec 1951-1962, remastered & expanded}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 323 Mb | MP3 @320 -> 164 Mb
Full Artwork @ 300 dpi (jpg) -> 16 Mb | 5% repair rar
© 1951-62, 2021 Modern Records / Soul Jam Records | 806186
Blues / Chicago Blues / Jump Blues

Howlin’ Wolf was one of the greatest characters and most electrifying performers in blues history. An imposing presence, blessed with a thunderous voice, he was one of the first artists to figure out how to make thoroughly modern experimental music by emphasizing the authentic, most primitive elements of roots music. This CD contains the long unavailable album Big City Blues, which presents a collection of Wolf recordings cut for the Modern label in 1951-1952.

Lucinda and band gallivant through the selected discography of Tom Petty, celebrating a shared Southern heritage and love for rock and roll along the way.

Alexander has always been in the game it seems. He’s played with everyone from Southside Johnny and the Asbury Jukes to Elvis Costello and Allen Toussaint. With Knockin’ Glenn and company take their in-your-face, guitar driven, horn-laced music to the next level…

AVID Jazz here presents four classic Clark Terry related albums, including original LP liner notes on a finely re-mastered and low priced double CD. “Introducing Clark Terry”; The Dave Bailey Sextet-”One Foot In The Gutter”; “Clark Terry With Thelonious Monk” and Jimmy Hamilton’s- “It’s About Time”…

Loose jam feel offers Sumlin plenty of space. This 1975 set was his first as leader. Quiet and extremely unassuming off the bandstand, Hubert Sumlin played a style of guitar incendiary enough to stand tall beside the immortal Howlin' Wolf. The Wolf was Sumlin's imposing mentor for more than two decades, and it proved a mutually beneficial relationship; Sumlin's twisting, darting, unpredictable lead guitar constantly energized the Wolf's 1960s Chess sides, even when the songs themselves (check out "Do the Do" or "Mama's Baby" for conclusive proof) were less than stellar. Sumlin started out twanging the proverbial broom wire nailed to the wall before he got his mitts on a real guitar. He grew up near West Memphis, Arkansas, briefly hooking up with another Young Lion with a rosy future, harpist James Cotton, before receiving a summons from the mighty Wolf to join him in Chicago in 1954. Sumlin learned his craft nightly on the bandstand behind Wolf, his confidence growing as he graduated from rhythm guitar duties to lead. By the dawn of the '60s, Sumlin's slashing axe was a prominent component on the great majority of Wolf's waxings, including "Wang Dang Doodle," "Shake for Me," "Hidden Charms" (boasting perhaps Sumlin's greatest recorded solo), "Three Hundred Pounds of Joy," and "Killing Floor." Although they had a somewhat tempestuous relationship, Sumlin remained loyal to Wolf until the big man's 1976 death.