Artist: Mississippi Mudsharks
Title: Train Rolls On
Writer: Rick Galusha
This is a band that cuts from the cloth of Walter Trout and Molly Hatchet. With gruff vocals that nary’ between a bark and a growl ala’ Jim Dandy Mangrum (Black Oak Arkansas) the band crusades through an albums worth of tracks. Guitarist Scotty ‘Mad Dog’ Blinn plays licks reminiscent of Kiss’ Ace Frehley while bass player “Big” Mike Lars hammers away with flair.
With all the gusto of Motorhead behind them the Mississippi Mudsharks wail, twist and turn as the album hits high speed tempos. These guys are the absolute dumpster divers of West Coast blues kitsch…in other words they may not be a band for most listeners. However ‘The Mudsharks’ have repeatedly won the San Diego markets award for Best Blues Album of the Year including three times in the 90’s and again in 2006. With their heavy handed blues that leans towards ZZ Top on Meth ala’ Nashville Pussy, the blues is a genre that seems to welcome all comers, and this is a band that will push even the most lenient of envelopes. So to lift a line from Rod Stewart off the latest Faces boxset album, “God bless [their] socks!”
Monday, June 16, 2008
Sunday, June 8, 2008
Delta Highway, The Devil Had a Woman
Artist: Delta Highway
Title: The Devil Had a Woman
Writer: Rick Galusha
Musical genres are little more than marketing tools to help people piece together what a band or compact disc is probably going to sound like. An indicator if you like. As the Major Label systems continues to shrink more and more artists are looking for a musical home. Subsequently more and more acts are falling into the blues category, not because they are playing anything close to the call-call-response of a 12 bar rotation but because the blues audience is big, has money and is generally less and less discerning. I think its great because the tie that binds is blues but the definition is getting wider and wider. Unlike the rock genre, which has fractured into tens of thousands of micro-niches, the blues continues to be an embracing genre that clings to the forefathers but essentially accepts nearly anything that chooses to call itself blues. As a cocksure John Travolta said in the film ‘Broken Arrow,’ “Ain’t it cool!”
With the release of their new album, ‘The Devil Had a Woman,’ the Memphis based band, Delta Highway sets aside any debate on what genre they belong to. This is pure contemporary blues firmly rooted in the traditional American artform. Unlike many roots blues bands however Delta Highway reaches out to the modern listener with fragrant hints of stronger melody lines and more apparent tunesmithing. The band is founded on the relationship of twenty-nine year old vocalist and harmonica player Brandon Santini and thirty-one year old guitarist Justin Sulek. Santini and Sulek are backed by industry stalwarts Tom Louis on bass and Keven Eddy on drums. Together the band has the sounds and textures of the Blues-Greats but utilize modern aspects including the modified vocal line, “The Devil had a woman looked a lot like you” in the title track. In addition, this band “pockets-in-the-groove” better than less experienced bands seem to capture on their albums.
Santini’s vocals are richer than most and are draped with careful harmonica backing lines for added depth and texture. This band underplays appropriately allowing Santini’s harp line, such as on the opening of ‘Feelin’ Bad’ to fully introduce the song without being pushed or overshadowed by pesky guitars or over-used drums. They embrace the song and use their skills to keep the listener focused as the song’s energy builds to a simmering height. There’s no hurry and there’s no rush. Tasty.
The fourth track on the album, “We Got a Thang Goin’ On” starts off with a heavy tilt towards the Rolling Stone’s 1978’s track, ‘Miss You’ including a possibly unintended refrain from Sugar Blue’s harmonica lick that the Stone’s used so effectively in their foray into disco…but make no mistake, Delta Highway’s take is seeped and dirty and won’t be mistaken for disco in your lifetime. The use of an organ in the song only adds to the energy which Santini’s harp solo sets against.
This is a very strong album from a band that has established itself in the blues friendly Mecca market of Memphis. Guitarist Sulek can rip’em off and lay’em down with tasty aplomb but without becoming the dominate force in the song; quickly moving back into the background. This is a band that prides itself on delivering “pure blues.” Clearly the band knows their history and their newest album, ‘The Devil Had a Woman” is an excellent vehicle for blues purists as well as more open minded blues listeners. More traditional radio programmers might spin the fifth track, ‘Got to Be On My Way’ while more free-form jocks find that, ‘We Got a Thang Goin’ On,’ with its Classic Rock reflection, something their listeners will enjoy.
Title: The Devil Had a Woman
Writer: Rick Galusha
Musical genres are little more than marketing tools to help people piece together what a band or compact disc is probably going to sound like. An indicator if you like. As the Major Label systems continues to shrink more and more artists are looking for a musical home. Subsequently more and more acts are falling into the blues category, not because they are playing anything close to the call-call-response of a 12 bar rotation but because the blues audience is big, has money and is generally less and less discerning. I think its great because the tie that binds is blues but the definition is getting wider and wider. Unlike the rock genre, which has fractured into tens of thousands of micro-niches, the blues continues to be an embracing genre that clings to the forefathers but essentially accepts nearly anything that chooses to call itself blues. As a cocksure John Travolta said in the film ‘Broken Arrow,’ “Ain’t it cool!”
With the release of their new album, ‘The Devil Had a Woman,’ the Memphis based band, Delta Highway sets aside any debate on what genre they belong to. This is pure contemporary blues firmly rooted in the traditional American artform. Unlike many roots blues bands however Delta Highway reaches out to the modern listener with fragrant hints of stronger melody lines and more apparent tunesmithing. The band is founded on the relationship of twenty-nine year old vocalist and harmonica player Brandon Santini and thirty-one year old guitarist Justin Sulek. Santini and Sulek are backed by industry stalwarts Tom Louis on bass and Keven Eddy on drums. Together the band has the sounds and textures of the Blues-Greats but utilize modern aspects including the modified vocal line, “The Devil had a woman looked a lot like you” in the title track. In addition, this band “pockets-in-the-groove” better than less experienced bands seem to capture on their albums.
Santini’s vocals are richer than most and are draped with careful harmonica backing lines for added depth and texture. This band underplays appropriately allowing Santini’s harp line, such as on the opening of ‘Feelin’ Bad’ to fully introduce the song without being pushed or overshadowed by pesky guitars or over-used drums. They embrace the song and use their skills to keep the listener focused as the song’s energy builds to a simmering height. There’s no hurry and there’s no rush. Tasty.
The fourth track on the album, “We Got a Thang Goin’ On” starts off with a heavy tilt towards the Rolling Stone’s 1978’s track, ‘Miss You’ including a possibly unintended refrain from Sugar Blue’s harmonica lick that the Stone’s used so effectively in their foray into disco…but make no mistake, Delta Highway’s take is seeped and dirty and won’t be mistaken for disco in your lifetime. The use of an organ in the song only adds to the energy which Santini’s harp solo sets against.
This is a very strong album from a band that has established itself in the blues friendly Mecca market of Memphis. Guitarist Sulek can rip’em off and lay’em down with tasty aplomb but without becoming the dominate force in the song; quickly moving back into the background. This is a band that prides itself on delivering “pure blues.” Clearly the band knows their history and their newest album, ‘The Devil Had a Woman” is an excellent vehicle for blues purists as well as more open minded blues listeners. More traditional radio programmers might spin the fifth track, ‘Got to Be On My Way’ while more free-form jocks find that, ‘We Got a Thang Goin’ On,’ with its Classic Rock reflection, something their listeners will enjoy.
Wednesday, May 28, 2008
Frank Carillo and the Bandoleros 'Someday'
Artist: Frank Carillo and the Bandoleros
Album: Someday
Writer: Rick Galusha
There was a time when rock records were marketed as rock records. Due to demographic shift and the dearth of choice on commercial radio, rock records by artists over the age of 40 are now marketed to a blues audience. The latest album by Frank Carillo and the Bandoleros is titled, ‘Someday.’ Much like The Michael Stanley Band, Joe Grushecky’s Iron City Rockers or perhaps Nils Lofgren, Carillo is a niche artist within the rock genre that, if you happen to “get it,” you love their music. If you “miss the train” however you are probably oblivious to their work.
Frank Caillo has that ageless summer voice that calls you back to a hot summer nights and a dashboard radios. Carillo’s previous album, “Bad Out There’ was a solid outing that included a tribute track to the late James ‘Jimmy’ Dewar who sang with the Robin Trower Band. For more than three decades Carillo has been the bridesmaid – always on the cusp of a larger audience. After departing Humble Pie, Peter Frampton invited Carillo to play on his next two solo efforts including; Frampton’s ‘Camel’ and ‘Winds of Change.’ Shortly after that, while using the Rolling Stones equipment, Carillo’s band hung-out with Led Zeppelin who were recording, ‘Houses of the Holy’ across the hall. In 1978 Carillo has his first major label deal which included Yvonne Elliman who was enjoying success in Eric Clapton’s band and her lead role in the smash hit, ‘Jesus Christ Superstar.’ And so it goes, ever so close.
Once again, Carillo has released a very strong record that most pre-Nirvana rock and many roots fans will appreciate. On his website, http://www.frankcarillo.com listeners can preview the current and previous solo effort in their entirety; I suggest trying the third track, ‘Lucky (If you can breath). The songs are strong but lack the charisma associated with a statured artist. The arrangements and recordings are pristine and carefully considered. So what’s the deal? The Bandoleros can play and Carillo has an exceptional rock n’ roll voice (ala’ Paul Rogers or Sammy Hagar minus the usual howls and braggadocio). In today’s music environment “good” is no longer good enough – weak skilled record label wonks and radio industry wannabes want easy marketing, model like looks and sexually charged misfits that can be easily manipulated. Well none of those things exist on this album. If ever there was a record where the music did the talking Frank Carillo and The Bandoleros, ‘Someday’ is that record. No – on first listen you’re not going to “get it.” Perhaps by the fourth time through the absolute pure enjoyment of this record, of Carillo’s voice will settle in and then, like me, you’ll become entrapped by an album and an artist that “has it” even if today’s fractured industry fails to fully grasp something is beyond the low laying fruit of mass commercialism. This is a diamond in the rough and don’t ever expect The Bandoleros to become a significant draw – they are a niche of exquisite flavor. Get it – it’s good!
Album: Someday
Writer: Rick Galusha
There was a time when rock records were marketed as rock records. Due to demographic shift and the dearth of choice on commercial radio, rock records by artists over the age of 40 are now marketed to a blues audience. The latest album by Frank Carillo and the Bandoleros is titled, ‘Someday.’ Much like The Michael Stanley Band, Joe Grushecky’s Iron City Rockers or perhaps Nils Lofgren, Carillo is a niche artist within the rock genre that, if you happen to “get it,” you love their music. If you “miss the train” however you are probably oblivious to their work.
Frank Caillo has that ageless summer voice that calls you back to a hot summer nights and a dashboard radios. Carillo’s previous album, “Bad Out There’ was a solid outing that included a tribute track to the late James ‘Jimmy’ Dewar who sang with the Robin Trower Band. For more than three decades Carillo has been the bridesmaid – always on the cusp of a larger audience. After departing Humble Pie, Peter Frampton invited Carillo to play on his next two solo efforts including; Frampton’s ‘Camel’ and ‘Winds of Change.’ Shortly after that, while using the Rolling Stones equipment, Carillo’s band hung-out with Led Zeppelin who were recording, ‘Houses of the Holy’ across the hall. In 1978 Carillo has his first major label deal which included Yvonne Elliman who was enjoying success in Eric Clapton’s band and her lead role in the smash hit, ‘Jesus Christ Superstar.’ And so it goes, ever so close.
Once again, Carillo has released a very strong record that most pre-Nirvana rock and many roots fans will appreciate. On his website, http://www.frankcarillo.com listeners can preview the current and previous solo effort in their entirety; I suggest trying the third track, ‘Lucky (If you can breath). The songs are strong but lack the charisma associated with a statured artist. The arrangements and recordings are pristine and carefully considered. So what’s the deal? The Bandoleros can play and Carillo has an exceptional rock n’ roll voice (ala’ Paul Rogers or Sammy Hagar minus the usual howls and braggadocio). In today’s music environment “good” is no longer good enough – weak skilled record label wonks and radio industry wannabes want easy marketing, model like looks and sexually charged misfits that can be easily manipulated. Well none of those things exist on this album. If ever there was a record where the music did the talking Frank Carillo and The Bandoleros, ‘Someday’ is that record. No – on first listen you’re not going to “get it.” Perhaps by the fourth time through the absolute pure enjoyment of this record, of Carillo’s voice will settle in and then, like me, you’ll become entrapped by an album and an artist that “has it” even if today’s fractured industry fails to fully grasp something is beyond the low laying fruit of mass commercialism. This is a diamond in the rough and don’t ever expect The Bandoleros to become a significant draw – they are a niche of exquisite flavor. Get it – it’s good!
Friday, May 23, 2008
The Informants - Stiletto Angel 'horn driven blues'
Artist: The Informants
Title: Stiletto Angel
Writer: Rick Galusha
Denver based band, ‘The Informants’ are a sonically full-range band that puts the piano and horns right up front with vocalist Kerry Pastine for a rich mix of Louis Jordan meets Roomful of Blues fun-time blues that are irresistible, at times sexy and exceptionally well arranged. This is a recording of a band that took time to conceive an album as opposed to the regular collection of songs thrown together. When it comes to the history of recorded music these guys ‘get it’ and understand how to take a bit from the past, add a bit from the present and come up with something familiar yet fresh.
No doubt about it, this album wraps around the “sultry” and able vocals of Kerry Pastine.
On the title track singer Pastine uses full-throated approach that swings with a Chuck Berry sass against a pulsating band in high gear. Strategically placed pauses with a taste of Angelia Strehli vocal lines leads the band through a high gear tune of a woman clearly in control of the next sexual conquest who, “just hasn’t gone wrong” yet.
‘Tears of a Heartache’ is a slow burning track that sounds like something Otis Redding would have sung. Rather than punching through the next break the bands, stops, holds and waits for the next chorus to present itself in with a simmering broken hearted line.
The Informants have a rich mix of soulful guitar, lulling horns and a fine, fine vocalist. This is not a record that slips easily into a genre other than to say that roots music fans will readily embrace this album and those that got into the ‘jump blues’ craze of the late 90’s will readily appreciate this well made record.
‘Let’s Roll’ is your thumping blues ala’ Exene meets John Doe (‘X’) in a rich duet that is crafted to add something special to the genre. It is easy to see The Informants performing this track at next year’s ‘Keeping the Blues Alive’ presentation. A terrific album that stands up repeated listening in the car or on the home stereo.
Title: Stiletto Angel
Writer: Rick Galusha
Denver based band, ‘The Informants’ are a sonically full-range band that puts the piano and horns right up front with vocalist Kerry Pastine for a rich mix of Louis Jordan meets Roomful of Blues fun-time blues that are irresistible, at times sexy and exceptionally well arranged. This is a recording of a band that took time to conceive an album as opposed to the regular collection of songs thrown together. When it comes to the history of recorded music these guys ‘get it’ and understand how to take a bit from the past, add a bit from the present and come up with something familiar yet fresh.
No doubt about it, this album wraps around the “sultry” and able vocals of Kerry Pastine.
On the title track singer Pastine uses full-throated approach that swings with a Chuck Berry sass against a pulsating band in high gear. Strategically placed pauses with a taste of Angelia Strehli vocal lines leads the band through a high gear tune of a woman clearly in control of the next sexual conquest who, “just hasn’t gone wrong” yet.
‘Tears of a Heartache’ is a slow burning track that sounds like something Otis Redding would have sung. Rather than punching through the next break the bands, stops, holds and waits for the next chorus to present itself in with a simmering broken hearted line.
The Informants have a rich mix of soulful guitar, lulling horns and a fine, fine vocalist. This is not a record that slips easily into a genre other than to say that roots music fans will readily embrace this album and those that got into the ‘jump blues’ craze of the late 90’s will readily appreciate this well made record.
‘Let’s Roll’ is your thumping blues ala’ Exene meets John Doe (‘X’) in a rich duet that is crafted to add something special to the genre. It is easy to see The Informants performing this track at next year’s ‘Keeping the Blues Alive’ presentation. A terrific album that stands up repeated listening in the car or on the home stereo.
Monday, April 28, 2008
Sweden's Slidin' Slim and "One Man Riot"
Artist: Slidin’ Slim
Title: One Man Riot
Writer: Rick Galusha
In vein that crosses the music and playing of Watermelon Slim with the marketing chutzpah of The Black Keys, the latest release by Swedish born and bred, ‘Slidin’ Slim,’ entitled, “One Man Riot” is a respectable release from an artist who is most incongruous to the sound. You see, while the sound is well replicated of a steel body Blues slide guitar, “Slim” is young, white and Swedish. But his album is neither cliché ridden nor trite. It takes some listens but its fun and much like the highly regarded releases by that Oklahoma trash hauler Watermelon Slim – it does preserve a sound that is the antithesis of commercial and does so in a way that is, well, fun.
On the second track, ‘Devil in Disguise” Slim creates a sonic curtain to sing against using a unique picking to create an impression of mystery and danger. Quite literally this could be a Watermelon Slim album…except that it isn’t. Even the vocal accents are similar.
This isn’t an album that most people are going to run out and pick up. It too similar to Watermelon Slim; however, if given exposure it’s a good solid effort that fills a highly niched genre. Like most “white” players this record is easy to listen to and has a lyrical sort of pop sensibility to it: rather than the harsh cutting ‘delta sound’ of early recordings.
For sometime Sweden has been putting together nice blues based albums including serving as a recording base for Eric Bibb and others. If you’re interested in getting a feel for the blues outside of these United States this may well be an excellent example. Other than sales off the stage or due to some expatriate interest, I can’t see this album seeing much domestic success albeit a very solid record by a talented up n’ comer.
Title: One Man Riot
Writer: Rick Galusha
In vein that crosses the music and playing of Watermelon Slim with the marketing chutzpah of The Black Keys, the latest release by Swedish born and bred, ‘Slidin’ Slim,’ entitled, “One Man Riot” is a respectable release from an artist who is most incongruous to the sound. You see, while the sound is well replicated of a steel body Blues slide guitar, “Slim” is young, white and Swedish. But his album is neither cliché ridden nor trite. It takes some listens but its fun and much like the highly regarded releases by that Oklahoma trash hauler Watermelon Slim – it does preserve a sound that is the antithesis of commercial and does so in a way that is, well, fun.
On the second track, ‘Devil in Disguise” Slim creates a sonic curtain to sing against using a unique picking to create an impression of mystery and danger. Quite literally this could be a Watermelon Slim album…except that it isn’t. Even the vocal accents are similar.
This isn’t an album that most people are going to run out and pick up. It too similar to Watermelon Slim; however, if given exposure it’s a good solid effort that fills a highly niched genre. Like most “white” players this record is easy to listen to and has a lyrical sort of pop sensibility to it: rather than the harsh cutting ‘delta sound’ of early recordings.
For sometime Sweden has been putting together nice blues based albums including serving as a recording base for Eric Bibb and others. If you’re interested in getting a feel for the blues outside of these United States this may well be an excellent example. Other than sales off the stage or due to some expatriate interest, I can’t see this album seeing much domestic success albeit a very solid record by a talented up n’ comer.
Miscellenous Thoughts about technology and websites
Tech Column 2
While it’s self evident, it hadn’t dawned on me until recently that consumers of digital information are highly niched and want to be able to buffer, or hold, information until they are ready to process it. Traditional mass media vehicles such as newspapers, television and radio are learning how to set aside their content for later consumption. Buffering is an aspect of convenience that consumers have come to expect. For nearly twenty years I have hosted a three hour blues/ Americana radio program. By ‘podcasting’ Pacific Street Blues at www.podomatic.com listeners can tune in whenever they want as well as download the podcast for increased portability. No longer are consumers necessarily tied to the radio for a specific program at a specific time. It’s the same with newspapers. While the Omaha World Herald requires you to register in order to get full access to their content, The Wall Street Journal, for example, require readers to pay a fee for full access to their content. I recently signed up for access to ‘The Newcastle Evening Chronicle” on-line newspaper to read about events and stories in faraway Newcastle Upon Tyne, England. That they are able to get nearly $15 a month is incredible. So I get what I want, when I want it – interesting.
Another example of fantastic technology is a website, ‘www.tuned.mobi.com.’ Interestingly I haven’t been able to get the site to come up on anything other than a cellular telephone. The PC version is http://www.radiofeeds.co.uk/pda/ . This site allows listeners to tune into radio stations throughout the English speaking world including; Ireland, The United Kingdom, Australia and the United States. Admittedly there’s no longer any special with listening to radio throughout the world on the internet. Between ‘towered’ radio and internet only radio there are literally tens of thousands of choices. BUT, driving to work this morning I listened to Shannonside Northern Radio from Roscommon, Ireland (about midway between Dublin and Galway). The good news is that commercial Irish radio is as mundane as commercial American radio although news briefs on the lottery, a lorry wreck and Mrs. Fitzgerald’s broken fence was interesting. More so than music programming, I find call-in or talk radio the most interesting.
While not for everyone, another awesome music site for fan’s of rock music golden period is www.WolfgangsVault.com. The site is home to legendary rock promoter’s Bill Graham’s legacy and host live tapes from concerts he promoted as well as many of the now nearly mythical ‘King Biscuit Flower Hour’ series and a country music series called, ‘Silver Eagle.’ This is truly an amazing site which includes ‘Bitches Brew’ era recordings from Mile Davis, Led Zeppelin shows from 1969, Lou Reed concerts from ’73 to ’86, Vintage era Pink Floyd and more. There are interviews as well as original articles from ‘Cream Magazine’ as well as contemporary articles on today’s music. Listener’s are required to register and downloads of select concerts are also available. From obscure Yardbirds recordings to the band Kansas live at Omaha’s Civic Auditorium (July 21, 1982) – this site is a gold mine for musical exploration. There are rare and authorized merchandise, links to EBay auctions and an adjunct to look-up pending concert dates. This site has limited ability to broadcast on cellphones.
Wolfgang’s Vault now includes a vanguard music site called, ‘Daytrotter.’ In addition to editorial content regarding modern bands the site includes more than 800 songs that can be streamed or downloaded for use on your PC or portable listening device. The music you want, when you want it and at a price that’s hard to argue with (free).
What’s clear in all this is that using ‘free’ music as bait to build on-line traffic is not going to wane anytime in the near future. Much like the demise of CDs, one wonders if giving away music is wise. As CD stores have learned, if the perceived value of solid goods is eroded, if music becomes a commodity, then the value of “music” plummets. The increased niche listening habits coupled with the lowered perceived value seems to be spurring local music hubs.
While it’s self evident, it hadn’t dawned on me until recently that consumers of digital information are highly niched and want to be able to buffer, or hold, information until they are ready to process it. Traditional mass media vehicles such as newspapers, television and radio are learning how to set aside their content for later consumption. Buffering is an aspect of convenience that consumers have come to expect. For nearly twenty years I have hosted a three hour blues/ Americana radio program. By ‘podcasting’ Pacific Street Blues at www.podomatic.com listeners can tune in whenever they want as well as download the podcast for increased portability. No longer are consumers necessarily tied to the radio for a specific program at a specific time. It’s the same with newspapers. While the Omaha World Herald requires you to register in order to get full access to their content, The Wall Street Journal, for example, require readers to pay a fee for full access to their content. I recently signed up for access to ‘The Newcastle Evening Chronicle” on-line newspaper to read about events and stories in faraway Newcastle Upon Tyne, England. That they are able to get nearly $15 a month is incredible. So I get what I want, when I want it – interesting.
Another example of fantastic technology is a website, ‘www.tuned.mobi.com.’ Interestingly I haven’t been able to get the site to come up on anything other than a cellular telephone. The PC version is http://www.radiofeeds.co.uk/pda/ . This site allows listeners to tune into radio stations throughout the English speaking world including; Ireland, The United Kingdom, Australia and the United States. Admittedly there’s no longer any special with listening to radio throughout the world on the internet. Between ‘towered’ radio and internet only radio there are literally tens of thousands of choices. BUT, driving to work this morning I listened to Shannonside Northern Radio from Roscommon, Ireland (about midway between Dublin and Galway). The good news is that commercial Irish radio is as mundane as commercial American radio although news briefs on the lottery, a lorry wreck and Mrs. Fitzgerald’s broken fence was interesting. More so than music programming, I find call-in or talk radio the most interesting.
While not for everyone, another awesome music site for fan’s of rock music golden period is www.WolfgangsVault.com. The site is home to legendary rock promoter’s Bill Graham’s legacy and host live tapes from concerts he promoted as well as many of the now nearly mythical ‘King Biscuit Flower Hour’ series and a country music series called, ‘Silver Eagle.’ This is truly an amazing site which includes ‘Bitches Brew’ era recordings from Mile Davis, Led Zeppelin shows from 1969, Lou Reed concerts from ’73 to ’86, Vintage era Pink Floyd and more. There are interviews as well as original articles from ‘Cream Magazine’ as well as contemporary articles on today’s music. Listener’s are required to register and downloads of select concerts are also available. From obscure Yardbirds recordings to the band Kansas live at Omaha’s Civic Auditorium (July 21, 1982) – this site is a gold mine for musical exploration. There are rare and authorized merchandise, links to EBay auctions and an adjunct to look-up pending concert dates. This site has limited ability to broadcast on cellphones.
Wolfgang’s Vault now includes a vanguard music site called, ‘Daytrotter.’ In addition to editorial content regarding modern bands the site includes more than 800 songs that can be streamed or downloaded for use on your PC or portable listening device. The music you want, when you want it and at a price that’s hard to argue with (free).
What’s clear in all this is that using ‘free’ music as bait to build on-line traffic is not going to wane anytime in the near future. Much like the demise of CDs, one wonders if giving away music is wise. As CD stores have learned, if the perceived value of solid goods is eroded, if music becomes a commodity, then the value of “music” plummets. The increased niche listening habits coupled with the lowered perceived value seems to be spurring local music hubs.
Listen to the Pacific Street Blues podcast
Since 1989, twenty years ago, Pacific Street Blues has been broadcasting in the Omaha, Nebraska market.
Yeah, its a blues based radio program but we play Americana and other respectable forms of roots music as well as the sporadic archival Classic Rock track.
PS Blues is not for "purists" per se' but I reckon most folks over the age of 30 will enjoy it.
Your thoughts and input are appreciated at KIWRBlues@gmail.com.
Here's the link....
www.KIWRBlues.Podomatic.com
Thanks for listening...
Yeah, its a blues based radio program but we play Americana and other respectable forms of roots music as well as the sporadic archival Classic Rock track.
PS Blues is not for "purists" per se' but I reckon most folks over the age of 30 will enjoy it.
Your thoughts and input are appreciated at KIWRBlues@gmail.com.
Here's the link....
www.KIWRBlues.Podomatic.com
Thanks for listening...
Subscribe to:
Posts (Atom)
