I thought it'd be a great idea to put the latest albums up from the artists playing at Bluesfest - so those of you lucky enough to go can check out what you want to see. And for those of you overseas who, I'm sure, will be extremely jealous. So check back here over the next week or so to check it out, and of course any more new announcements of performers will be added also.AND REMEMBER - POSTS ARE RUNNING FROM TOP TO BOTTOM - SO YOU'LL HAVE TO SCROLL DOWN AND GO THRU THE PAGES TO FIND THE NEWER POSTS


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Wanda Jackson – Unfinished Business (2012)

On 2011′s The Party Ain’t Over, Jack White took it upon himself to remind the world of the greatness of Wanda Jackson, the first lady of rockabilly, by creating a great and gaudy musical spectacle in which the headlining artist often got lost in the shuffle of her own album. A year later, Jackson headed back into the studio, this time with Justin Townes Earle behind the controls, and the title Unfinished Business faintly suggests this album was meant as a corrective to the folly of her collaboration with White. It certainly suits Jackson and her gifts better than The Party Ain’t Over; Earle has set Jackson up with a solid studio band (usually just guitar, bass, keys, drums, and sometimes pedal steel) and for the most part, they kept out of her way, giving her just enough space to show she still has the goods. Jackson’s instrument is weaker than it was in her prime — no great surprise from a woman nearly 75 years old — but her phrasing is still on target, and she’s got spunk and attitude to spare; when she tells off a two-timing suitor on “Pushover,” the scenario not only sounds plausible, but you sure don’t want to be in that guy’s shoes. Unfinished Business nods to the totality of Jackson’s career, so while old-school rock & roll dominates the set, she also shows off her estimable skills singing vintage country (particularly on “What Do You Do When You’re Lonesome,” written by Earle, and “Am I Even a Memory,” in which he delivers a fine duet vocal) and gospel (a fervent take on Townes Van Zandt’s “Two Hands”). And Jackson shows her mettle on two surprising selections — she sounds tough and sassy on Bobby Womack’s classic “It’s All Over Now,” and delivers a warm, graceful interpretation of the Jeff Tweedy/Woody Guthrie collaboration “California Stars.” Wanda Jackson’s best records were simple at heart — give the gal a good song and a good band, and she can do the rest. Unfinished Business shows that six decades after her first recordings, that strategy still works, and she can still deliver the goods without a lot of needless fuss.



Soldiers Of Jah Army (SOJA) – Strength to Survive (2012)
01 – Mentality
02 – Strength to Survive
03 – Everything Changes
04 – Don’t Worry
05 – Tell Me
06 – It’s Not Too Late
07 – Gone Today
08 – Let You Go
09 – Not Done Yet
10 – Slow Down
11 – Be With Me Now
12 – When We Were Younger
13 – Gone Today (Acoustic 2010)
14 – Jah is Listening Now (Acoustic 2010)
15 – She Still Loves Me (Acoustic 2010)
16 – Prison Blues (Acoustic 2011)

DISC 1 - http://depositfiles.com/files/95s07h0h8
DISC 2 - http://depositfiles.com/files/14pbjl5vr
DISC 3 - http://depositfiles.com/files/8eg78bws9

Tony Joe White – Collected [3Cds] (2012)

Tony Joe White has parlayed his songwriting talent into a modestly successful country and rock career in Europe as well as America. Born July 23, 1943, in Goodwill, LA, White was born into a part-Cherokee family. He began working clubs in Texas during the mid-’60s and moved to Nashville by 1968. White’s 1969 debut album for Monument, Black and White, featured his Top Ten pop hit “Polk Salad Annie” and another charting single, “Roosevelt and Ira Lee (Night of the Moccasin).” That same year, Dusty Springfield reached the charts with White’s “Willie and Laura Mae Jones.” Brook Benton recorded a version of White’s “Rainy Night in Georgia” that hit number four early in 1970; the song has since become a near-standard with more than 100 credits. White’s own “Groupie Girl” began his European success with a short stay on the British charts in 1970. White moved to Warner Bros. in 1971, but success eluded him on his three albums: Tony Joe White, The Train I’m On, and Homemade Ice Cream. Other stars, however, continued to keep his name on the charts during the 1970s: Elvis charted with “For Ol’ Times Sake” and “I’ve Got a Thing About You Baby” (Top Five on the country charts), and Hank Williams, Jr. took “Rainy Night in Georgia” to number 13 on the country charts. White himself recorded Eyes for 20th Century Fox in 1976, but then disappeared for four years. He signed to Casablanca for 1980′s The Real Thang but moved to Columbia in 1983 for Dangerous, which included the modest country hits “The Lady in My Life” and “We Belong Together.” White was inactive through much of the ’80s, but worked with Tina Turner on her 1989 Foreign Affair album, writing four songs and playing guitar and harmonica. He released Closer to the Truth a year later for his own Swamp label and toured with Eric Clapton and Joe Cocker to very receptive French crowds (Closer to the Truth has sold 100,000 copies in that country alone). His 1993 album Path of a Decent Groove was released only in France, though Warner’s The Best of Tony Joe White earned an American release the same year. Lake Placid Blues (1995) and One Hot July (1998) were Europe-only efforts until 2000, when Hip-O Records brought out One Hot July in the U.S., giving White his first new major-label domestic release in 17 years. But White was just beginning to roll, or re-roll, as the case may be. The critically acclaimed The Beginning appeared from Swamp Records in 2001, followed by Heroines, featuring several duets with female vocalists, from Sanctuary in 2004, and a live Austin City Limits concert, Live from Austin, TX, from New West Records in 2006. In 2007 White released another live recording, Take Home the Swamp, as well as the compilation Introduction to Tony Joe White. In the summer of 2010 Rhino Handmade released a previously unissued live date from 1971 entitled That On the Road Look; later that fall, White’s latest studio offering, Shine, appeared through his Swamp Records imprint.


Luka Bloom – This New Morning (2012)
01. How Am I To Be 02:33
02. A Seed Was Sown 04:44
03. Heart Man 03:34
04. Capture A Dream 04:41
05. The Race Runs Me 03:32
06. You Survive 03:58
07. Riverdays 02:34
08. Across The Breeze 03:54
09. Gaman 03:19
10. Your Little Wings 03:16
11. Dignity And Backbone 03:31
12. The Ride 04:11
13. No Big Deal 02:56



1. Castlemaine 4:41

2. Sometimes I Wonder If I Know... 4:08

3. Little Bridges 5:00 

4. Sylvia's In Black 5:18 

5. Legend Of The Snowmen 2:40 

6. Eldorado 3:14 

7. Cry In The Rain 4:14 

8. Classrooms And Kitchens 4:10 

9. The Red Lady's Gone 2:56 

10. One More Ride 3:36 

11. The Patsy 4:06 

12. Listen To The Cold Wind Blow 3:48 

13. Sirens 3:29 



Shawn Colvin – All Fall Down (2012)

Shawn Colvin took a six-year break from the recording studio after the release of 2006′s These Four Walls, biding her time with a live album in 2009, and on All Fall Down, Colvin shows she was clearly in the mood to try something different. While her frequent co-writer John Leventhal has produced most of her albums, for All Fall Down she went into the studio with Buddy Miller, one of the most distinctive songwriters and instrumentalists working in Nashville today, and the result ranks with Colvin’s most satisfying work since the ’90s. The tenor of Colvin’s material hasn’t changed much — All Fall Down’s 11 tracks, eight of which were co-written by Colvin, are full of stories about people struggling with the eternal conflicts of the heart, the soul, and the conscience, all delivered with Colvin’s characteristic literacy and hard-won compassion. But the atmospheric soundscapes Miller and his studio crew have constructed for Colvin give the songs a gravity that’s organic and otherworldly at once, and the way her voice melds with the broad spaces of Miller and Bill Frisell’s guitars and the careful report of Brian Blade’s drumming reinforces the musicality of her performances. “Knowing What I Know Now” and “Anne of a Thousand Days” are two of Colvin’s best songs about love gone bitter, “American Jerusalem” and the title tune are thoughtful, pointed commentaries on the state of the union in 2012, and “The Neon Light of the Saints” generates a palpable Crescent City vibe in its tale of old gods pondering the present day. Colvin and Miller have brought some special guests on board for this album, including Emmylou Harris, Alison Krauss, and Jakob Dylan, but Colvin is still the most valuable player in this particular game; Buddy Miller may have given her some striking new musical backgrounds, but Colvin makes the most of them, and this work reaffirms her status as one of the leading artists in contemporary folk.


Newton Faulkner – Write It on Your Skin (2012)

Few musical artists are as quick or generous with supplies of ammunition for their detractors as Newton Faulkner. He’s a matey presence in a world of sucked-in cheekbones, he’s got dreadlocks and a chin-beard (which shouldn’t matter, but somehow really does), and he does that hitting-the-guitar-as-percussion thing, beloved of buskers and one-man-bands, but not to the degree that he’d forgo the sound of actual instruments in a recording situation.
And worst of all, he makes amiable records that seek to neither startle nor amaze, the utter swine. The best of his songs – always from the heart, to the heart – are a late-night cocoa after a long day, a restorative cuddle after a mild shock. His is a world of balance: a voice which doesn’t strain too hard, unburdened by excessive personality, delivering optimistic observations about life – Brick by Brick, Clouds – against muscular (but not too bulgy) arrangements.
He likes to play with a well-established craftsman’s toolkit of sounds (apart from a brief moment with a musical saw during In the Morning): polite strings, a most respectful piano, and harmonies layered both thin and thick.

In Pick Up Your Broken Heart he appears to be homing in on Elbow’s last pint – it being a fairly shameless reworking of their sky-kissing Open Arms. But you earn the right to be as generous with your affection as Guy Garvey, or risk coming across as some kind of heartbreak perv. It’s a nice enough song, but it’s been done better before.

Only on Long Shot does Newton really seem to push against his own modest goals, creating a (relatively) tense mission statement, a denial of religious faith and a bullish claim to self-sufficiency, which must have come from all that time learning to tap out a beat while strumming. It’s worth noting that this is the simplest and most focussed song on the album.

And of course it’s immediately followed by the reassuring clockwork woodwork of the title track, another optimistic escape into a setting sun, all bullishness forgotten, all balance restored.


Michael Kiwanuka – Home Again [Deluxe Version] (2012)

Earlier this year Michael Kiwanuka saw off tasty competition from hot tips Frank Ocean and Azealia Banks to be named the BBC’s Sound of 2012 winner by a panel of critics who clearly saw greater long-term potential in the London-born singer-songwriter than in his more obviously hip rivals. If they’re minded to, Ocean and Banks have a right to feel aggrieved – the critics were 40 years out. Kiwanuka couldn’t be more Sound of 1972 if he was teaching the world to sing in perfect harmony.
This isn’t pejorative. It’s not as if Kiwanuka is weeping salt tears over his Puppy Love or co-opting the Pipes and Drums and Military Band of the Royal Scots Dragoon Guards. He’s got taste. He’s “getting it together in the country” with Steve Winwood and Traffic, or beachcombing with Terry Callier, because Home Again is a folk/soul album, warm and understated with a breath of psychedelia. It might not heave with originality, but it’s run through with a faith and sincerity that just about overpowers reservations.

And faith is a big thing for Kiwanuka, who peppers I’m Getting Ready – relaxed and summery like early solo Paul Simon – with calls to the Lord, and makes deep promises to his brother man on the gospel-soaked I Won’t Lie. Even the less obviously devotional stuff like the slow-burn blues of Worry Walks Beside Me, the Moondance-era Van Morrison of Rest or the mariachi jazz of Always Waiting has the feel of a kind of pilgrimage – Kiwanuka is perpetually on the hunt for something, peace of mind, relief, the return home.

Produced by The Bees’ Paul Butler, the album betrays hints of the Isle of Wight analogue dandies’ free spirit in its more abandoned moments. Opener Tell Me a Tale is a glorious combination of fluttering jazz flute and Tempations swing, while I’ll Get Along – with its nifty, crystal guitar and louche handclaps – is a quiet riot.

But all this spiralling through folk, soul and jazz settles on Kiwanuka’s voice, a rich, weathered instrument that appears to carry more than 24 years’ experience. If the occasional song is man-and-guitar by numbers, he’s got the cords to conjure a bit of depth, whatever the decade.

1. Tell Me A Tale [04:12]
2. I’m Getting Ready [02:24]
3. I’ll Get Along [03:30]
4. Rest [03:52]
5. Home Again [03:32]
6. Bones [03:51]
7. Always Waiting [04:31]
8. I Won’t Lie [04:06]
9. Any Day Will Do Fine [03:41]
10. Worry Walks Beside Me [05:00]
11. Ode To You [03:19]

Disc 2
1. They Say I’m Doing Just Fine
2. Now I’m Seeing
3. Ode To You
4. I’ll Get Along (Ethan Johns Sessions)
5. I Won’t Lie (Ethan Johns Sessions)



William Elliott Whitmore – Field Songs (2011)
On his 2011 album Field Songs, Iowa troubadour William Elliott Whitmore documents a vanishing American landscape with all the heartfelt soul and quiet fury one could hope for. “Heartland firebrand blows fuse, fights for truth” heralded Spin Magazine when describing Whitmore, who utilizes a powerful singing voice beyond his years and a stark dramatic sound rooted in bluegrass, blues and folk protest music. These songs vividly evoke a life of struggle, humble resilience and family bond inspired by life on his family s farm along the Mississippi River.“Field Song”, has more than a hint of Springsteen’s widescreen grandeur. Telling an alternative history of agricultural America, it follows the original pioneers out west, tracing their progress through the rigorous decades



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The Beasts Of Bourbon - Little Animals (2007)



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BEASTS OF BOURBON - 1984 - The Axeman's Jazz




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