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  #671  
Old 11-09-2020, 12:12 AM
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Never heard of her...love it.
She does have a nice voice. Enjoy
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  #672  
Old 11-12-2020, 10:42 PM
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Country-Blues



Like T-Model Ford, Seasick Steve (aka Steve Wold) began recording his own music much later in life than other musicians. A storytelling singer reviving traditional country blues, Wold spent his childhood in California, but left home at 14.

As a hobo, he traveled for several years, jumping trains and working odd jobs. After drifting around the U.S. and Europe, he finally ended up in Norway. Aside from his respectable musical background (which includes recording early Modest Mouse, appearing on BBC television, and playing with John Lee Hooker), Wold is also noted for his unusual custom-made stringed instruments. By the time he was in his sixties, he'd finally released some official material.



"It’s easy to be sucked into the Seasick Steve legend (his real name is Steve Wold). Raised in California, he left home at 14 and began life as a street kid hobo, hopping trains, traveling, working odd jobs, drifting, playing music on street corners, doing whatever it took to survive, until somehow he ended up in Norway in his sixties where he began his late-in-life recording career as a fire-breathing rustic trance blues musician famous for his searing slide work, gruff voice, and a penchant for cigar box guitars and other odd instruments.

All of which is true. But there’s a bit more to the story. Wold, aside from seeming like he stepped right out of a Jack London story, has also been a session musician and recording engineer (he worked with Modest Mouse), appeared on BBC television, and even played with John Lee Hooker, so he is not a hobo savant -- he knows exactly what he’s doing.

It just took him a long time to find an audience, or perhaps even to know he wanted one. His sound is rough, ragged, and stomping, a bit like North Mississippi trance blues players like R.L. Burnside and Junior Kimbrough, but he doesn’t do traditional blues songs -- it just sounds like he does.

There’s no doubt he understands the heart, soul, and kinetics of country blues, but he’s also a natural songwriter who has lived a few decades and seen a lot of things in the back alleys that have given him a wonderfully urgent and wise perspective on what he’s doing. He’s not a young man. He’s been around. He knows what he’s singing about.

You Can’t Teach an Old Dog New Tricks, his fifth album, is his best yet, and easily his most considered and polished -- polished being a relative term here because this outing is thankfully still plenty rough and raw.

There are a half dozen of Wold's signature roaring slide guitar tracks here, usually accompanied by Dan Magnusson's powerful and inspired drumming, including the delightfully romping “Don’t Know Why She Love Me But She Do,” but there are other tracks here that reveal Wold as something more than just a brilliant side-street blues player.

The opening track, “Treasures,” is a thing of stark beauty as Wold looks back at what is truly worth holding in a long life, and it isn’t blues, unless one calls those old Appalachian banjo songs the blues. He sounds like Fred Neil after a two-week bender on another gem called “Whiskey Ballad,” which is more folk than it is anything else.

Then he’s back to the banjo again for “Underneath a Blue and Colourless Sky,” a song that Dock Boggs would have cried over, and it’s sad and real and powerful. The set closer, “It’s a Long, Long Way,” is a pure country song, and one can almost imagine what Johnny Cash would have done with it.

You Can’t Teach an Old Dog New Tricks builds on the loose and raw sound of Wold's earlier records, but it is also an extension of them, pulling in strains of folk and country and adding them to his signature trance blues sound. The result is a powerfully good record that Tom Waits is probably going to play to death if he ever gets ahold of a copy."





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  #673  
Old 12-03-2020, 09:35 AM
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Originally Posted by JDCheek View Post
Never heard of her...love it.
+1 and she can play the piano. I wouldn't mind a ''unplugged'' album from her.
https://www.youtube.com/watch?v=Kj52-WI-xdk&loop=0
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  #674  
Old 12-03-2020, 09:40 AM
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Seasick Steve. Great! Thanks!
https://www.youtube.com/watch?v=iw02OGddhD8&loop=0
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  #675  
Old 12-03-2020, 09:57 AM
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Carmen Gomes Inc. Up Jumped The Devil, ​Discovering the music of Robert Johnson.
A whole new take on these classic songs. Superb.

Superb in depth review here;https://audiophilestyle.com/ca/revie...ecording-r957/

Album is available from these distributeurs;

https://carmengomes.bandcamp.com/music (Redbook CD, Mp3, wav 44.1)

https://www.soundliaison.com/ (Flac, DXD, DSD)

https://soundliaison.bandcamp.com/music
Here is a little note from Frans de Rond on why this is called a 'One Mic+' recording, which is a quite contradictory term.
Quote:
"There are several reasons at play why this is a One Mic plus recording.
Maybe the most important is that I realized that when we had Carmen so close to the one mic she was creating an acoustic baffle that covered up certain frequencies. The same was true for Peter Bjørnild's double bass.
For this recording the role of drummer Bert Kampsteeg was very important. We wanted him to be able to play as freely and dynamic as possible. By moving Carmen and bassist Peter Bjørnild further away and supporting them with two Josephson C700A microphones, the drum sound got much more present. You could argue that this is a return to old fashioned multi mic recording but I don't think that is true, drums and guitar and a big part of the double bass sound is still coming from the Josephson C700S. The microphone is absolutely central to the sound stage we have created.

"The two C700A support microphones are identical to the C700S except that each has only one figure of 8 capsule.
But the beauty of these mic's are that spill coloration is much less of a problem. So they are perfect as spot mic's.
We wanted the small 'soundscape' compositions to have a very dark atmosphere (Peter said he wanted them sounding as dark as the Mississippi night), so I decided to add a spaced pair of Josephson C617 microphones up very high in the studio and let them be our main source of ambience.
​I think that worked very well. And also the deep drop tuned low 'A' of 27.5 Hz from the double bass got picked up very well by that pair. Such a low note is almost impossible to hear close up, somehow you only hear the upper harmonics generated, so that was an extra benefit of the ambient pair. And it made me fall even more in love with the sound of studio 2.
Another funny thing....I keep learning things about the C700S. I have to keep forcing myself to keep experimenting with distance, closer or further away from the mic, it is absolutely crucial to get the best possible sound. I don't think I have ever captured Folker Tettero's guitar better than on this album and it was a question of moving the right leg of the table with the amp on, 2 cm. (0,787 inch) backwards and there the sound was! Unbelievable."

Frans de Rond
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  #676  
Old 12-03-2020, 02:04 PM
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Here is a little note from Frans de Rond on why this is called a 'One Mic+' recording, which is a quite contradictory term.
It is a very well recorded and enjoyable album indeed. Sound Liaison continues to impress and are getting better with every album.
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  #677  
Old 12-10-2020, 05:43 PM
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I know there are Blues fans among us. Let's see some more participation guys. I just know you are out there listening to the BLUES!

John Lee Hooker to start the evening listening session.


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  #678  
Old 12-10-2020, 06:05 PM
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Fronting a band that includes such luminaries as James Cotton and "Pine Top" Perkins, Waters is not only at the top of his game, but is having the time of his life while he's at it. The bits of studio chatter that close "Mannish Boy" and open "Bus Driver" show him to be relaxed and obviously excited about the proceedings. Part of this has to be because the record sounds so good.

Winter has gone for an extremely bare production style, clearly aiming to capture Waters in conversation with a band in what sounds like a single studio room. This means that sometimes the songs threaten to explode in chaos as two or three musicians begin soloing simultaneously. Such messiness is actually perfect in keeping with the raw nature of this music; you simply couldn't have it any other way.

There is something so incredibly gratifying about hearing Waters shout out for different soloists, about the band missing hits or messing with the tempos. Hey this isn't pop music, it's the blues, and a little dirt never hurt anybody.


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  #679  
Old 12-10-2020, 06:40 PM
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Been a few years since I’ve listened to this one. Always has been one of my favorites.

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  #680  
Old 12-10-2020, 06:58 PM
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T-Bone Walker. Great album.

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