Blues | CBR 320 kbps | 00:47:51| 110,25 MB
1. Call My Job 2. There She Comes 3. Whiskey, Money And Women 4. Tribute 5. Down South 6. Smokestack Lightning 7. Angel Of Mercy 8. I Want To Thank You Baby 9. My Baby's Gone 10. Casino Blues 11. Imagine
Hattiesburgban
született Mississippi államban,a gitáros, énekes, dalszerző Dave Riley
aki zenei pályafutását egy gospel zenét játszó csapatban kezdte. Később
tizenévesként Chicagoba költözött ahol a nyugati városrészben a Maxwell
Street közelében élt, és ez akkoriban a vibráló blues zene színhelye
volt. A 90-es évek közepén Riley olyan blues legendákkal találkozott
mint Sam Carr, Frank Frost, és John Weston. Barátságuk visszavezette
Rileyt a gyökerekhez a Deltába és ettől kezdve a blues töltötte ki az
életét. 2008-ban a Blues Music Awards a "Travelin' the Dirt Road" című
albumát az év akusztikai albuma címre jelölte.
The Dave Riley
blues style is marked with equal parts authenticity and guts. With
blues singer/guitarists currently available at a dime for the dozen, it
is refreshing to be confronted with a dose of originality. New York’s
Fedora Records seeks to keep the blues in its elliptical orbit through
featuring such musicians as Riley, a fearless practitioner whose music
is fueled by his own encounters with life’s blue junctures. His music
is succinctly delivered through meaty crunch chords, layered precision
picking, and a voice that bellows with authority and mobility. Whiskey,
Money & Women I laced with a tone of granulated joy and redemption.
Riley, who spent 25 in the correctional circuit as a guard in
Illinois’s Joliet State Penitentiary, is a reformed addict and Vietnam
veteran. He is joined by son, Dave Riley, Jr., snap-drummer Sam Carr,
and Arkansas harp man, John Weston. The bulk of the music is played as
a blues power trio. They open the disc with Detroit Jr.’s infectious
“Call My Job.” Riley makes the tune his own, tactfully placing 7’s and
9’s in the rhythms and spilling filler riffs with grace and accuracy.
“Tribute,” which features Riley alone with his guitar, cites such
forerunners as Elmore James, Wes Montgomery, and Texas slinger Freddie
King as masters, Riley acknowledging their powers in the artform and
humbly taking the torch for his passion. He further pays tribute,
ripping through standards by Howlin’ Wolf and BB King (“Smokestack
Lightning” and “Angel of Mercy”). Oddly enough, the record closes with
a soulful take on John Lennon’s “Imagine.” The number begins with a
monologue that calls attention to grade school violence. Riley’s chord
strumming is choppy at best, but his intentions are forthright. This
record makes a fine introduction to a Southern unsung bluesman. Alan
Jones for All About Jazz Published: February 01, 2002
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