Eliminator And The Brokenhearted Balladeers (2011)

Tim “Too Slim“ Langford is a monster guitarist and unabashed blues rocker whose influences run the gamut from Lightnin’ Hopkins, Freddy King, Duane Allman, and Lynyrd Skynyrd to Robin Trower. He is a prolific singer/songwriter whose songs have now yielded an impressive 13 studio Too Slim and the Taildraggers albums, 2 solo albums and several live CD’s all on his own Underworld Records imprint. Too Slim and the Taildraggers are Tim “Too Slim" Langford on guitar/vocals, Zach Kasik on bass/vocals and Jeff “Shakey” Fowlkes on drums/vocals. Too Slim and the Taildraggers’ high energy Blues Rock has been thrilling audiences for years.

This California-based blues band led by Rod Piazza, the harmonica player and singer whose stratospheric harmonica wailings owe a heavy debt to both Little Walter and George "Harmonica" Smith. Piazza began his professional career as a member of the Dirty Blues Band in the mid-'60s. The Dirty Blues Band recorded two albums for ABC/Bluesway – an eponymous debut in 1967 and 1968's Stone Dirty. Piazza left the band after the release of Stone Dirty, choosing to hit the road with his idol George "Harmonica" Smith instead. Over the next decade and a half, Piazza and Smith performed together frequently under the name Bacon Fat; they also recorded the occasional album.

Jason Isbell and The 400 Unit released audio of their February 29 performance from the 2020 Innings Festival in Tempe, Arizona via Bandcamp. The Leap Year Day set marked The 400 Unit’s last show before stay at home orders went into place. The show features a nearly career-spanning set from Jason Isbell and The 400 Unit and kicks off with “Go It Alone” from their 2011 album, Here We Rest. The band then delivered more recent material with “Hope The High Road” from their 2017 album, The Nashville Sound, followed by the title track from Isbell’s 2015 LP, Something More Than Free.

Credited to Merrell & the Exiles, this is a selection of rarities and unreleased material by Merrell Wayne Fankhauser's mid-'60s band, essentially the one that cut the great rare psych-folk-rock album that was credited to Fapardokly. It's pretty much a collection of outtakes with a few rare non-LP singles thrown in, and as such doesn't measure up to the best of Fankhauser's '60s material. Often derivative of the British Invasion, folk-rock, and early '60s teen pop, it's not bad, just not terribly memorable. The fake British Invasion of cuts like "Send Me Your Love" rank as the highlights. It also has his late-'60s non-LP single cover of Fred Neil's "Everybody's Talkin'," although for some reason it's missing one of his mid-'60s non-LP 45s, "Can't We Get Along"/"That's All I Want From You" - it was reissued on a rarities tape that Merrell himself released, if you can find it…

Charles Scott Boyer II was an American singer-songwriter and guitarist. Boyer was best known for co-founding the band Cowboy. Boyer was born Chenango, New York, and moved to Jacksonville, Florida in his youth. After high school, he played in the band the 31st of February. He co-founded Cowboy with songwriter Tommy Talton in 1969, which released four albums and supported the Allman Brothers Band on tour. Boyer's song "Please Be with Me" was later covered by Eric Clapton. After Cowboy's breakup, Boyer continued playing music. He moved to Muscle Shoals, Alabama in 1988 and continued playing in a band called the Decoys until his death in 2018.

Eric Clapton is usually thought of as John Mayall's most important right-hand man, but the case could also be made for his successor, Peter Green. The future Fleetwood Mac founder leaves a strong stamp on his only album with the Bluesbreakers, singing a few tracks and writing a couple, including the devastating instrumental "Supernatural." Green's use of thick sustain on this track clearly pointed the way to his use of guitar riffs with elongated, slithery tones on Fleetwood Mac's "Albatross" and "Black Magic Woman," as well as anticipating some aspects of Carlos Santana's style…

The Broken Cloud is a true psychedelic experience.
This progressive-rock epic takes cues from bands such as Yes, King Crimson, and Pink Floyd. It grips you with music from both near and far, old and new, and from somewhere all-together different. From it's opening brigade of guitars, Hammond organ, and choral vocals, to its strange-even terrifying-marriages of Psychedelic Rock, Dark Ambience, Electronic Dance Music, Bluegrass, and Robert Johnson-esq Blues… You'll never be sure what's coming next! …and when the end is finally at hand you'll be lifted up into a thematic emotional high that you won't soon forget…