I can tell you if this tour comes to a city near you then you should check it out! The combo of George on guitar and Oni on vocals will amaze you (I have seen them in the past). They totally rock and this will be a great show you don’t want to miss!
Here is a little history in-case you don’t know anything about the Lynch Mob.
Buddy Guy will perform at the 2010 Blues Music Awards, May 6 in Memphis, Bonnie Raitt will present Guy with the Blues Foundation’s Lifetime Achievement Award. Bonnie will also be inducted to the Blues Hall of Fame on May 6th.
More than 25 nominees scheduled to perform at the event including Tommy Castro, Rick Estrin, Louisiana Red, Duke Robillard, Super Chikan, and Joe Louis Walker.
The Blues Foundation is Memphis-based organization dedicated to preserving blues-music history, celebrating recording and performance excellence, supporting blues education and ensuring the future of this uniquely American art form.
Founded in 1980, the Foundation has 3,500 members and 185 affiliated blues societies representing another 50,000 fans and professionals around the world.
Its HART Fund provides the blues community with medical assistance while its Sound Healthcare program offers musicians health insurance access. The Blues Foundation’s Blues in the Schools programs and Generation Blues scholarships expose new generations to blues music. For more info visit blues.org.
Knopfler is best known for filling arenas around the world in the 1980s with his band Dire Straits. But in the last 15 years since the band’s break-up, he’s made as many solo studio albums as he did with his old band. His solo career has been more understated but no less accomplished, relying less on incredibly eloquent guitar solos and more on his love of American roots music and the empathetic storytelling in his songwriting.
In concert, though, you can’t keep a good guitar god down. Knopfler’s guitar work again moved to the foreground, the notes rich and assured, the solos seeming to take flight where Knopfler’s soft, deep vocals stay resolutely earthbound. It’s that contrast that defines so many of Knopfler’s songs, often first-person narratives about seemingly ordinary men — the unemployed factory worker in “Telegraph Road,” the farmer with his mail-order bride in “Prairie Wedding.” While Knopfler’s lyrics tend to stay simple and matter-of-fact, it’s left to his guitar to express the yearning in their hearts.
Knopfler came with an absolutely incredible seven-piece band, an amalgamation of some colleagues from his Dire Straits days, like keyboardist Guy Fletcher, and some fantastic Nashville session musicians. That includes bassist Glenn Worf, a Madison native, who proved equally at ease slapping a giant upright bass or laying down a solid groove on electric.
Knopfler said he had come across Worf playing in a small Nashville club and thought he had discovered this great unknown talent, only later realizing that he was highly in demand as a session musician.
“He’s just the greatest musician you could ever hope to find,” Knopfler said, as the audience gave Worf a loud home-state welcome. “Every day he lugs that big upright lady into a small room. He says it’s a war of attrition, but he gives as good as he gets.”
Also in the band were Matt Rollings, a terrific piano player who frequently plays in Lyle Lovett’s Large Band, and Tim O’Brien, a Grammy-winning bluegrass musician in his own right. Taken together, Knopfler’s band could seemingly do anything, from delicate Celtic tunes to Delta slide-guitar blues.
The band also knew how to rock, too, building songs like the epic 14-minute “Telegraph Road” to sweeping finales that brought the audience on its feet for several standing ovations during the night. For “Sultans of Swing,” Dire Straits’ first hit, Knopfler dismissed all but the core guitar-bass-drums line-up and played a satisfying lean and rocking version, his guitar doing somersaults over the band’s tight groove.
“That was some historical four-piecery, there,” Knopfler joked afterward. “It’s still just a great blast to play that.”
The set ended with “Telegraph Road,” and then the band came out for an encore of two “Brothers in Arms” songs, the haunting title track and the sweet “So Far Away.” The band began to assemble at the front of the stage for its traditional group bow, but the audience was still cheering so loudly that Knopfler called an audible, sending them back to their instruments for just one more song.
He didn’t want to leave just yet. The feeling was mutual.
Click Here to see a listing of his tour dates.
In honor of Zakk Wylde’s recent Golden Gods Award for the Best Guitarist of 2010 from Revolver Magazine, Dunlop has compiled the best of his gear and are offering you the chance to win it. Enter for your chance to win the grand prize of:
A year’s supply of Dunlop Signature Zakk Wylde Guitar Strings
Crybaby Zakk Wylde Signature Wah
MXR Zakk Wylde Overdrive
MXR Black Label Chorus
Coffin Case (Graveyard Disciple Model)
Epiphone Graveyard Disciple Guitar
EMG Zakk Wylde Signature Set
Click Here to enter the contest.
Also check out Zakk’s brand new site http://www.zakkwylde.com/where he talks about his recent completion of the Black Label Bunker home studio project and his preparation for a brand new Black Label Society album out this summer.
A new Jimi Henrix album of previously unreleased material is now available. The new album is called Valleys of Neptune. It gathers studio tracks laid down at the Record Plant and Olympic Studios over four turbulent months in 1969, and captures the stone-free guitarist in a period of transition.
After the release of 1968’s Ladyland, Hendrix was looking for fresh ground. Eddie Kramer, the studio engineer who stood next to the man’s fire, claims “he was looking to do something new that was equally good, better or different.”
Here is a track-by-track journey into Valleys of Neptune, with help from the Hendrix friend and producer Eddie Kramer.
The hustling, bold declaration of independence – “I got to, got to, got to get away” – was a 1966 b-side, but had taken on new meaning by the spring of 1969. Hendrix was frustrated by management he found restrictive, and had recruited Billy Cox, a trusted old army buddy to replace Noel Redding on bass. The updated Stone Free is lean and excited. “It was not only hard to play, because of its dynamic range,” explains Kramer, “but it presented all kinds of difficulties in the studio. But when it comes off, and it’s strong like this one, it takes your head off.”
Valleys of Neptune
Mercury-liquid R&B rock, about the healing powers of a rising new continent – 1969, remember? What’s unique is that Kramer married a demo Hendrix recorded in a hotel room with a band version from almost a year later. “That’s the sort of thing Jimi would have done,” Kramer says, referring to the cutting-and-pasting, “which is one of the reasons I had no qualms about doing it.”
A blistering, up-tempo jam of the Elmore James blues, My Bleeding Heart. “It’s certainly a nice little jaunt for Jimi,” says Kramer. “Any time he felt he could take off in wild direction, within reason, he would do it – not so much to prove a point, but to stretch the boundaries.
Hear My Train a Comin’
A sorrowful, sprawling, thudding original blues number (not dissimilar to Voodoo Child) that’s available in different versions elsewhere, notably the impromptu 12-string acoustic rendition on the Blues album. As this was recorded with no overdubs, the multi-tasking musician doubles the vocal refrain with lead guitar licks. Says Kramer: “It shows a complete at-oneness with his instrument. Jimi had a thought in his mind, and in a nanosecond it gets through his body, through his heart, through his arms, through the fingers, onto the guitar.”
Mr. Bad Luck
More lightning-licked electric blues, from 1967’s Axis: Bold as Love sessions. The song, a staple of Hendrix’s pre-fame sets with the Blue Flame at Cafe Wha? in Greenwich Village, was re-recorded in 1968 and released as Look Over Yonder.
Sunshine of Your Love
An animated take on the Cream classic, one of five Valley of Neptune selections laid down in advance of a pair of concerts at Royal Albert Hall. Percussionist Rocki Dzidzornu and bassist Redding slow things down, while Jimi takes a break in the song’s middle. “Jimi loved Cream, he loved Eric Clapton,” says Kramer. “It was a fabulous song, he loved to play it, and he would just rip into it whenever the mood hit him.”
Modeled after blues standard Rock Me Baby, this showoff-y Hendrix original (about fleeing a lady’s bedroom upon her lover’s return) is available elsewhere under slightly varied titles.
Ships Passing Through the Night
Missing for more than three decades, this lonesome bit of R&B rock is an early version of Night Bird Flying. The rhythm has a uniquely juicy tone, achieved by putting the guitar feed through a Leslie keyboard speaker. “It’s a trick I used to do with Traffic and a bunch of other bands,” explains Kramer. “Jimi was never afraid of experimenting.”
Another rehearsal number for the Royal Albert Hall shows, the track (about Jimi’s “burning desire”) is a showcase for drummer Mitch Mitchell, who died in 2008. “God bless him,” comments Kramer, “we miss his little cotton socks. He was a lovely bloke, and a brilliant drummer.”
An original slow-blues (about a key which no longer unlocks his lover’s door) exists, but this studio cut is notable for its fiery elegance and the B.B. King-mimicking falsetto vocal flares. “I’ve heard umpteen-gazillion versions of Red House, but this is gorgeous,” remarks Kramer. “Just incredibly liquid and beautiful.”
Lullaby for the Summer
By no means a traditional lullaby, this driving, funky riff-rocker eventually evolved into Ezy Ryder, a standout on Cry of Love.
Crying Blue Rain
Easily the weakest “song” here. A moody, unresolved blues jam.
The guitar track for Randy Rhoads recording for the song Crazy Train have been found. What really cool about this is these tracks are isolated from the other tracks from the song. You can just hear Randy’s parts which is really pretty cool!
I must have heard this track thousands of times and I can hear things in this recording that I didn’t know was there! First the tracks are doubled which gives the guitar a huge sound. Second Randy plays some alternate chords which you really can not hear with the other instruments in the track.
The third thing is that you can hear just his cool solo which kicks! Checkout the audio below and let me know what you think!
There is a tour of fantastic guitar players which are coming together to pay tribute to Jimi Hendrix. The tour is called Experience Hendrix and you may be able to catch it live in your city.
Experience Hendrix, L.L.C.–the company formed by Jimi’s guitarist’s father, James “Al” Hendrix is overseeing his legendary son’s legacy.
Here is the line up of guitar players touring with this show:
BILLY COX Band of Gypsys & The Jimi Hendrix Experience
KENNY WAYNE SHEPHERD
CESAR ROSA From Los Lobos
BRAD WHITFORD From Aerosmith
DOYLE BRAMHALL II
Click Here to see the tour dates and locations.
Here is a video from the 2008 tour. Pretty cool, check it out!