Widely regarded as one of the finest guitarists of his generation - and the best British-born blues guitarist since the iconic heroes of the ’60s - Matt Schofield released his new album, Anything But Time, June 14 on Nugene Records. Recorded at The Music Shed in New Orleans, it is the award-winning guitarist and singer-songwriter’s fourth studio release. Anything But Time was made with veteran producer John Porter - another Brit celebrated for his way with capturing the authentic sound of American blues music.
For the first time in her career, Blues diva Dana Gillespie releases a live album. After four studio sets for Ace, dating back to 1982's Blue Job, this CD is released in response to the demand by her audiences around the world. Recorded with the London Blues Band in Poole in 2006, the set features the dynamic guitar skills of Dino Baptiste. No fancy studio tweaks are used here. Dana and the Band cut the mustard, with the very highest level of musicianship, spiced up with a lot of fun, to create this straight-ahead record of a fabulous gig from a great singer with a great band.
Now, for the first time ever, “Matt Bianco”, the eponymous, sophomore album by continental, Latin, Jazz, Pop combo MATT BIANCO, has been remastered and expanded. Originally released in 1986, Matt Bianco (UK #26) achieved platinum and gold sales status throughout the UK and Europe. Matt Bianco were part of the sophisticated pop sound that included Sade, Carmel, Swing Out Sister, The Style Council and many others during the mid-80s. This deluxe edition features 31 tracks including the original 10-song album alongside 21 bonus recordings - 13 mark their appearance on CD for the first time, four of which are previously unreleased…
At first or second listen, this sounds unnervingly like a solo album that Ray Davies might have made circa the early 1970s. There's that same witty melodicism, and a similar resigned yet bemused air to Suggs' vocal delivery. It manages, though, not to sound like an inferior rewrite of Kinks cliches, and upon closer inspection, reveals Suggs to be more his own man than might initially be suspected. Suggs favors far more abstract lyrics, for one thing, imbued with rather creepy images of vultures, skeletons, and dreamy disorientation. In addition, the music is more speckled with Americana than what Davies and the Kinks played, as heard on the enchanting minor-keyed mandolin strums and desert guide slide that anchor "The Rambler Vs. the Vulture/Devils Dance," managing to strike a mood between Appalachia and Tex-Mex balladry. Like few other ambitious musicians, singer-songwriter-identified and otherwise, working in indie rock circa 2000, Suggs knows how to use understatement instead of trying too hard or opting for an in-your-face approach.