ed Shaaran

Wild & greasy blues at its best, a two-song session for an anthology turned into an all-night, live-in-the-studio jam. Sounds like it was great fun.
Signing to Alligator in the mid-'80s, they released their debut album, Roughhousin', in 1986 and found themselves receiving national attention. They began playing urban clubs and festivals all over the country and eventually toured Canada, Europe, and Japan.

Sometimes the bloodlines show up and at other times they explode with a fanfare that shows itself to the world. Lil' Ed Williams traces his heritage back to his uncle, one of the Chicago blues legends, slide guitar master J.B. Hutto. He was tutored by his uncle, and the West Side Chicago blues scene that nurtured him, and readily gives J.B. much of the credit for his prowess. He captures some of that same raw street energy that was his uncle's trademark on many of the tracks on this, his fifth Alligator release. Listen to "The Creeper" to get an idea of the savage fury that he can channel through his slide guitar work. This disc manifests that feel for the blues that can't be taught, but must be both lived and seen from the inside…

Wild, raw, rough-edged Chicago slide guitar blues, this is jumpin', partyin' music in the tradition of Hound Dog Taylor and J.B. Hutto (Lil' Ed's uncle). Recorded live in the studio with no overdubs, it includes nine original compositions plus covers of Hutto and Albert Collins tunes.

The single-disc, 29-track compilation Puzzles collects all of Ed Bruce's RCA recordings from the late '60s, including "Blue Denim Eyes," "By Route of New Orleans," "Walker's Woods," "Last Train to Clarksville," "Painted Girls and Wine," "Memphis Morning," "Why Can't I Come Home," "Ninety Seven More to Go," "Give Me More Than You Can Take," "Something Else to Mess Your Mind" and no less than three versions of the title track. While this material is not among Bruce's best-known, it is among his best. Though the duplicate versions of some tracks can be tedious – "Puzzles" is presented in three versions, there are two takes of "I'd Be Best Leaving You," there are both dubbed and undubbed versions of "Painted Girls and Wine" and "Blue Bayou" – Puzzles nevertheless is an excellent way to become acquainted with a fine, underappreciated talent.

Ed Sheeran has announced details of his new album ‘=’ (Equals), confirmed for release on 29th October through Asylum Records. ‘=’ - the fourth instalment in Sheeran’s symbol album series - is Ed’s most accomplished work yet; the evolution of an artist who continues to tread new ground. A body of tracks that were made over a four-year period following his seminal ‘÷’ (Divide) album era, thematically, ‘=’ finds Ed taking stock of his life and the people in it as he explores the varying degrees of love (‘The Joker And The Queen’, ‘First Times’, ‘2step'), loss (‘Visiting Hours’), resilience (‘Can’t Stop The Rain’) and fatherhood (‘Sandman’, ‘Leave Your Life’), while also processing his reality and career (‘Tides’). Sonically, ‘=’ encapsulates Ed’s versatile musical palette, spanning signature, guitar-led tracks and world-class balladry to weightier, euphoric production moments, as first showcased on this summer’s emphatic comeback track, ‘Bad Habits’.

The band's wildly energetic and seriously soulful CD Jump Start is jam-packed with Lil' Ed's incendiary slide playing and rough, passionate singing, as the ragged-but-right Blues Imperials cook like mad alongside him. It is a tour-de-force of untamed slide guitar, rock solid rhythms, heartrending ballads and authentic deep blues vocals. Williams wrote or co-wrote 13 of the album's 14 songs, ranging from the non-stop boogie blast of "If You Were Mine" to the heart-on-his-sleeve honesty of "Life Is A Journey" to the bouncing and jazzy "Jump Right In" to the swaggering, autobiographical "Musical Mechanical Electrical Man." The album overflows with the band s full throttle drive and is fueled by Lil' Ed's love of both serious blues and good time fun.

Sometimes the bloodlines show up and at other times they explode with a fanfare that shows itself to the world. Lil' Ed Williams traces his heritage back to his uncle, one of the Chicago blues legends, slide guitar master J.B. Hutto. He was tutored by his uncle, and the West Side Chicago blues scene that nurtured him, and readily gives J.B. much of the credit for his prowess. He captures some of that same raw street energy that was his uncle's trademark on many of the tracks on this, his fifth Alligator release. Listen to "The Creeper" to get an idea of the savage fury that he can channel through his slide guitar work. This disc manifests that feel for the blues that can't be taught, but must be both lived and seen from the inside…