quarta-feira, 31 de dezembro de 2014

JP Jones - Magical Thinking

JP Jones - Magical Thinking - 2006

By Steven Francis from OpEdNews.com
John Paul Jones, saddled with the same name as Led Zeppelin's bassist and thus operating under "JP Jones", is a Rhode Island folk musician and rocker who almost caught the fast track to fame in the 70's. He was signed to the Windfall label, a subsidiary of Columbia Records and home to hard rockers Mountain, but at exactly the wrong time, when Clive Davis & Co. decided they didn't like the upstart venture and buried it, Jones going down with the ship.

But now, it's 30 years later and the troubadour is one of America's best-kept secrets, a condition hopefully soon to change. He's been issuing CDs regularly and has just now put out his twelfth, Magical Thinking, and not a moment too soon. At a time when damn near every dial position of commercial radio is as gawdawful as ever, this disc is a shining star. Jones is head-shotted on the disc's cover, the weathered countenance of a guy who's seen life and the industry, standing firm without losing his balance, while both took their best shots. There's a hard edge there, just beneath the tentative smile, evincing a musician who's become a bit weary and a lot wiser, imbued with the rough and tumble of making it day to day in a world hostile to loners.

"A Man Stands Up" opens the CD and gives a broad hint of the soul and integrity of the musician-poet's position. A soporific synthesizer floats above Jones' voice and lulls the listener while the lyrics take on an anthemic proportion. The cut's a re-working of a selection from his last CD, Thugs and Lovers, longer and more engaging. In fact, on this release, the composer has chosen to revivify three works from a long catalog, something many Big Time musicians might want to take a cue from. He re-crafts "Prophet in His Prime" as well, from the elder "Jeremiah", newly cutting in zydeco accordion and sounding very Dylan-ish.
It proceeds in a shuffling beat, lazy and thick, with airy guitar glances glazing starry borders to the tune's atmosphere. Once or twice, Jones approaches Tin Pan Alley from the Paul Williams sidestreet (think "Old Souls"), penning laments to pain and pleasure in thoughtful drawing-room memories. His voice holds the savor of many antecedents: Dylan foremost but also Mark Knopfler, a tang of Warren Zevon, and a distant growl of Waits, nonetheless his own man through it all. Those vocal chords show they've been through the mill and traveled many nights, but this only lends an expressive uniqueness while displaying emotional vulnerabilities and strengths, the sort of thing folk music thrives on.

The music of all of Magical Thinking is tight while relaxed, showing the easy grace of a professional who very well knows where the pocket is, falling into it every time. Jones continually lets down borders, exposing his heart, ushering listeners into the forgotten realms of life, reflecting on the kaleidoscope we behold from day to day. "Ezmerelda" features what appears to be strings but could be adept synthesizers, a moody tune delivered late at night, pondering the shallow rewards of promiscuity, the bright lights of the fast life. The blunt exposure of a slide to disappointment and pain is tempered by the kindredness the listener him- or herself may have had to the condition at one time or another, the setting sun a metaphor for an approaching wisdom dipped in regret.

"Sufficient" pulls tempo and spirits back up, a bopping spell of admiration for a woman sitting in the center of the singer's warm regard. The title sabotages society's glamour sickness and invokes the sentiment that we're just what we are and that all of it is quite sufficient. The 15-minute "The Fire and the Rose" closes out the entire disc, trad folk stretched out to Homeric lengths, dropping the fire and thunder that often accompany such opuses, organ propping up the backspaces of a small novel. It signals a return to Dylan and the height of the folk movement, where the psyche of the brazen rock world is reminded of its roots. Appropriate to all Jones' tunes, we're left with wistfulness.

This is an affecting disc. It carries such a myriad of flavors, scents, ideas, laments, and ruefully gentle smiles, calling back across the musician's many long years of craft to produce his crowning statement in a field of excellences. Magical Thinking is indeed magical listening, wrought by a vet who never lost the spark that drove him to take up the crucible in the first place. Of all the die-hards who have impressed us with their devotions to the Muse, there is perhaps no one more tried and true than Rhode Island's JP Jones, a man who may well be America's most talented yet hidden lion of independent music. This disc at long last should prove to be his shining moment. 

01. A Man Stands Up
02. Prophet In His Prime
03. Wreck The Bed
04. Us And Them
05. Strut
06. Fool In Love
07. That All Right
08. Loaded Question
09. Ezmerelda
10. Sufficient
11. The Fire And The Rose


segunda-feira, 29 de dezembro de 2014

District 97​-​ Live at CalProg

District 97​ - ​Live at CalProg - 2010

From Prog-Sphere
This is the first live album by US band District 97, you may say it is a bit early because they have only released one studio album, and having on par one live is not something that we can see every day. This is a performance in the Cal Prog Festival which was completely recorded and released, and now enjoyed by District 97 newcomers and future fans.

What this live show features is a set of seven songs, including their long 27-minute epic Mindscan, so this is an ambitious live introduction which in my opinion works as a revulsive for the band, because in this high-quality performance we appreciate that they are not only good on studio.

The first track here is the single “I Can’t Take You With Me”, with symphonic keyboards, nice harmonies, cool drums and nice female vocals. This may be their introductory piece, but not their best.

“Termites” has a heavier sound, which does not really mean the music goes towards prog metal, not at all. When keyboards appear they really help, putting even more power to the music, which in addition with the vocals make a strong, heavy and good track. I also like the short changes and the backing male vocals. The final two minutes are crazy, with a weird but cool guitar solo.


01. I Can’t Take You With Me
02. Termites
03. Who Cares
04. The Back and Forth
05. Presto Vivace/Back in NYC
06. Mindscan
07. Open Your Eyes

Leslie Hunt – Vocals, Tambourine
Jim Tashjian – Guitar, Backing vocals
Rob Clearfield – keyboards, Additional Guitar
Patrick Mulcahy – Bass
Jonathan Schang – Drums


quarta-feira, 24 de dezembro de 2014

The New Rascals - It's a Beautiful Morning

The New Rascals - It's a Beautiful Morning - 2014

Ok! Eu sei (e os chatos de plantão também sabem) que Rascals sem Felix Cavaliere é quase uma banda tributo. E é mais ou menos assim como eles vêm se apresentando: uma banda tributo a Cornish e Danelli.

Bom, como hoje é Natal, Papai Noel também não existe e mesmo assim a maioria curte..... o presente da noite está aqui.

Feliz Natal para todos e nos veremos novamente em 2015!!!!!  

Merry Christmas for all and see you in 2015!!!!

Gene Cornish - Guitar
Dino Danelli - Drums
Bill Pascali - Keyboards, Vocals
Charlie Souza - Bass

01. It's a Beautiful Morning
02. A Girl Like You
03. Mustang Sally
04. Groovin'
05. People Got To Be Free
06. Come on Up
07. Good Loving
08. Midnight Hour
09. Lonely Too Long
10. How Can I Be Sure
11. Love Is a Beautiful Thing
12. You Better Run
13. Ain't Gonna Eat Out My Heart Anymore


domingo, 21 de dezembro de 2014

Max Middleton - Two Cranes

Max Middleton - Two Cranes - 2013

Two Cranes is an intriguing musical voyage combining classical nuances with Max Middleton's inimitable Rhodes keyboard style. Chill-out vibes, driving rhythms and cinematic soundscapes make this his best album to date. The two previous solo albums 'Land of Secrets' and 'One Thousand Sails' drew the following reviews from buyers on CD Baby......

"highly recommended, infusing jazz, Latin and reggae whilst retaining the wonderful Fender Rhodes playing that was the watermark on Jeff Beck's fusion era. Not a moment of disappointment on this album"

"This is music that satisfies on both an intellectual and emotional level. Highly recommended"

"This is an ultra-fine piece of smooth jazz style work with an international flavour. Highly enjoyable rhythms under expert keyboarding along with very subtle vocalisations make this CD the perfect soundtrack for viewing a spectacular summer sunset"

"Finding this after so many years is like stumbling across a buried treasure. It doesn't get any better than this"

Following in the footsteps of two acclaimed albums, Two Cranes adds further dimension and depth to Max Middleton's composing skills and playing style.

01. Two Cranes
02. Bamboo Forest
03. Mountain
04. Absent Friends
05. Water Garden
06. Down Home Girl
07. Nomad
08. Sendai
09. Hush Little Fin

Max Middleton - Keyboards, Piano
Martin Ditcham - Drums, Vocals
Kuma Harada - Bass
Robert Ahwai - Guitar
Maiuko, Richard Bundy - Vocals


sexta-feira, 19 de dezembro de 2014

Vince Martell - Endless High

Vince Martell - Endless High - 1995

from Wikipedia
Martell was born in the Bronx to parents who played the guitar and encouraged him to play as well. While in his teens, Martell joined the Navy, where he discovered his skills as a guitarist.

In 1963, Martell moved with his family to Florida and soon joined a band called Ricky T & The Satans Three that played in Miami blues clubs and shrimp bars in Key West. In 1966, he formed the band The Pidgeons with organist Mark Stein, bassist Tim Bogert and drummer Joe Brennan. After Brennan was replaced by Carmine Appice and a record deal forced the band to change its name, the band became Vanilla Fudge.

After the breakup of Vanilla Fudge in 1970, Martell continued to perform until Vanilla Fudge reunited for another album in 1984 called Mystery. In 2000, he released his first solo CD, Endless High, followed in 2001 by a self-titled CD, Vince Martell. In 2002, he recorded a third solo CD as a tribute to Jimi Hendrix, whom Martell had befriended when Vanilla Fudge and Hendrix toured together.

In 2005, Vanilla Fudge reformed with all the original members including Martell, Mark Stein, Tim Bogert and Carmine Appice, for a tour with The Doors and Steppenwolf. In July, 2006, Vanilla Fudge recorded a tribute to Led Zeppelin, working title Out Through the In Door, scheduled for release in early 2007. Martell continues to tour with Vanilla Fudge, and his own band, the Vince Martell Band with Peg Pearl (keyboards/vocals), Pete Bremy (Bass/vocals), and Russ T. Blades (drums).


01. Cause I Love You
02. The Old Man In The Sky
03. Just a Little
04. All In Love Is Fair
05. Ladder of Life
06. Baby, I'm Blue
07. In The Court of The Crimson King
08. Yolanda
09. Thoughts

Vince Martell - Guitars, Vocals, Background Vocals
Chuck Alder - Bass
Tony Pinisi - Organ
Neil Capolongo - Drums
Peg Pearl - Background Vocals

Tim Bogert
Ian McDonald
Chuck Alder, John Vinci and Richie Cerniglia (of Illusion)
John Garner (of Sir Lord Baltimore)
Phil Weiss and Scott Treibitz (of Star People)


domingo, 14 de dezembro de 2014

Nick Drake - The John Peel Session

Nick Drake - The John Peel Session - 2014

From Itunes
A singular talent who passed almost unnoticed during his brief lifetime, Nick Drake produced several albums of chilling, somber beauty. With hindsight, these have come to be recognized as peak achievements of both the British folk-rock scene and the entire rock singer/songwriter genre. Sometimes compared to Van Morrison, Drake in fact resembled Donovan much more in his breathy vocals, strong melodies, and the acoustic-based orchestral sweep of his arrangements. His was a much darker vision than Donovan's, however, with disturbing themes of melancholy, failed romance, mortality, and depression lurking just beneath, or even well above, the surface. Ironically, Drake has achieved a far greater stature in the decades following his death, with an avid cult following that grows by the year.

Part of Drake's failure to attract a mass audience was attributable to his almost pathological reluctance to perform live. It was at a live show in Cambridge, however, that a member of Fairport Convention saw Drake perform, and recommended the singer to producer Joe Boyd. Boyd, already a linchpin of the British folk-rock scene as the producer for Fairport and the Incredible String Band, asked Drake for a tape, and was impressed enough to give the 20-year-old a contract in 1968.

Drake's debut, Five Leaves Left (1969), was the first in a series of three equally impressive, and quite disparate, albums. With understated folk-rock backing (Pentangle bassist Danny Thompson plays bass on most of the cuts), Drake created a vaguely mysterious, haunting atmosphere, occasionally embellished by tasteful Baroque strings. His economic, even pithy, lyrics hinted at melancholy, yet any thoughts of despair were alleviated by the gorgeous, uplifting melodies and Drake's calm, measured vocals. Bryter Later (1970) was perhaps his most upbeat effort, featuring support from members of Fairport Convention, and traces of jazz in the arrangements. On some cuts, the singer/songwriter, remarkably, dispensed with lyrics altogether, offering only gorgeous, orchestrated instrumental miniatures that stood well on their own.

Neither album sold well, and Drake, already a brooding loner, plunged into serious depression that often found him unable to make music, work, or even walk and talk. He managed to produce one final full-length work, Pink Moon (1972), a desolate solo acoustic album that ranks as one of the most naked and bleak statements in all of rock. He did record a few more songs before his death, but no more albums were completed, although the final sessions (along with some other fine unreleased material) surfaced on the posthumous compilation Time of No Reply.

Drake's final couple of years were marked by increasing psychiatric difficulties, which found him hospitalized at one point for several weeks. He had rarely played live during his days as a recording artist, and at one point declared his intention never to record again, although he wished to continue to write songs for others. (It's been reported that French chanteuse Françoise Hardy recorded some of Drake's songs, but she hasn't released any.) On November 25, 1974, he died in his parents' home from an overdose of antidepressant medication; suicide has been speculated, although some of his family and friends dispute this.

In the manner of the young Romantic poets of the 19th century who died before their time, Drake is revered by many listeners today, with a following that spans generations. Baby boomers who missed him the first time around found much to revisit once they discovered him, and his pensive loneliness speaks directly to contemporary alternative rockers who share his sense of morose alienation.

01. Time Of No Replay
02. River Man
03. Three Hours
04. Bryter Layter
05. Cello Song


sábado, 13 de dezembro de 2014

Nick Vigarino and Kathi McDonald - The Ghost of Time (repost)

Nick Vigarino and Kathi McDonald - The Ghost of Time - 2000

O primeiro instrumento de Nick Vigarino foi um velho e acabado violão que tinha intactada apenas - e somente - uma corda.  E foi assim, como centenas de blueseiros seminais, que este americano deu seus primeiros passos na música, desenvolvendo um som que não demorou a conseguir o respeito daqueles interessados em sua abordagem dada ao blues. Vigarino já realizou lançou 3 álbuns próprios, além de várias participações e contribuições, tendo excursionado por vários países da Europa.
Nick Vigarino junta o blues tradicional de seus mestres sem deixar de lado o compromisso de marcar sua música  com um estilo vigoroso - nas guitarras, na gaita ou nos vocais - não importando se está no palco de um pequeno bar ou de frente à uma plateia numerosa.

Já Kathi MacDonald é uma veterana artista que cantou em muitos grandes LPs dos anos 1970. Seu primeiro álbum solo, Insane Asylum, foi gravadado com Neil Schon, John Cippolina, Ronnie Montrose, Aynsley Dunbar, Pete Sears, The Pointer Sisters e a sessão de metais da  Tower of Power e hoje é um item de colecionadores.

Kathi McDonald correu turnê com Ike e Tina Turner por 3 anos. Com apenas 21 anos, participou de gravações e turnês com Long John Baldry. Seus poderosos vocais podem ainda ser encontrados em discos como Joe Cockers' Mad Dogs and Englishmen, Shelter People do  Leon Russell e Tumbleweed Connection com Elton John; o clássico Delaney and Bonnie;  Headkeeper de Dave Mason (ex-traffic) e no lendário Exile on Main Street.

Nick Vigarino - Dobro, Guitar, Vocals
Kathi McDonald -  Vocals
Brian Auger - Hammond, Grand Piano
Robben Ford - Guitar (Electric)
Rob Mullins - Piano
Nathan East, Charles Meeks -  Bass
Tony Dumas -  Bass (Acoustic)
Ralph Penland - Drums, Tambourine, Backing Vocals
Brenda Lee Eager - Backing Vocals
01. The Ghost of Time
02. Earl's Gumbo
03. God Bless the Child
04. Letting a Good Man Go
05. Yardbird
06. Folk Funk (Instrumental)
07. I'd Rather Be
08. Poor People
09. Did She Say Anything
10. Louisiana Breakdown
11. Temptation Road (Instrumental)
12. A Love Letter
13. Blacktop Road
14. Baby You Know I Love You
15. Ghost of Time (Reprise)


quinta-feira, 11 de dezembro de 2014

Ian Hunter - Missing in Action (repost)

Ian Hunter - Missing in Action - 2000

Missing in Action is a compilation of previously unreleased live material from various periods in Ian's solo career (Long Island NY 1979; Chicago IL 1979; Essen Germany 1980; San Jose CA 1989; Toronto Canada 1987/88). The bonus disc, Collateral Damage, contains more live material from those shows, and was included with the first 5000 copies.

CD 1 - Missing In Action

01. Life After Death
02. Ships
03. Letter To Brittania From The Union Jack
04. We Gotta Get Out Of Here
05. While You Were Looking At Me
06. (I'm The) Teacher
07. American Music
08. Day Tripper
09. Tell It Like It Is
10. Pain
11. Women's Intuition
12. Wild East
13. Na Na Na.

CD 2 - Collateral Damage (limited bonus disc)

01. FBI
02. Once Bitten Twice Shy
03. When The Daylight Comes
04. Laugh At Me
05. I Wish I Was Your Mother
06. Cleveland Rocks
07. Bastard
08. Standin' In My Light
09. Angeline
10. All The Way From Memphis
11. Walking With A Moutain/Rock 'n' Roll Queen
12. All The Young Dudes
13. Slaughter On 10th Avenue.


quarta-feira, 10 de dezembro de 2014

The Coal Men - Skeletons

 The Coal Men - Skeletons - 2013

Founded in 1999, The Coal Men have been playing there own brand of roots rock ‘n’ roll for twelve years with the same core line up.  Guitarist and lead singer Dave Coleman grew up with bassist Jason “Hitch” Hitchcock in rural Jamestown, TN.  After playing in high school bands, the blood brothers from the Cumberland Plateau both moved to Nashville.  Coleman started writing his own songs, and through luck and fate, wrote for two years at legendary Acuff-Rose Music Publishing.

The Coal Men formed as an outlet for these songs with the addition of drummer and singer Dave Ray, a Virginian native.  The band tightened with residency gigs in Nashville.  “Playing every Tuesday night for six months was a way to explore songs in every avenue.”  The band released their first E.P in 2001 and their first full length record in 2004.  Coleman spent time as a side guitarist for major label acts on Warner Brothers Records and Big Machine Records.  The band started touring with ventures into North Carolina, Virginia, and Georgia.

The album “Beauty is a Moment” brought The Coal Men into 2006 with an extended band.  Jen Gunderman (The Jayhawks) joined on keyboards, and Chris Frame (Son Volt) joined playing a second guitar.  The Song “Louisiana” from that record was featured on a Benefit album for New Orleans Flood Survivors.  The album has been played extensively on Sirius/XM Radio’s Loft Station.

The Bands 2009 album Kids with Songs, found the band back as a stream lined three piece and on the road in the “Silver Beagle” van for a long time, opening for acts such as the Avett Brothers, Chris Knight, and Roger Clyne and the Peace Makers; and also a performance on West Virginia’s Mountain Stage, alongside The Squirrel Nut Zippers and Southern Culture on the Skids.  In 2010 the band  opened for and backed the Banjo/Slide guitar virtuoso Tony Furtado on a tour out west to Colorado, Utah, Idaho, Oregon, and Wyoming.

Skeletons is a 7-song E.P. offering brand-new material from the band. Right on the heels of the release of their album Escalator, it features guests: Jimbo Mathus (mandolin, harmonica, guitar), Ericson Holt (organ & Wurlitzer), and Eamon McCloughlin (strings).

Produced and engineered by Dave Coleman, Skeletons is a roots rock/power pop album with heart, guts, and energy. The band tracked all the songs live in one day, and vocals were recorded in their southernmost home of Key West, FL.

While on tour with the Tri-State Coalition, Jimbo added some of his Mississippi Catfish harmonica and mandolin to "Half the Price," a booking bar room shuffle that rebukes the predatory bar fly. Boogie Woogie piano master, Ericson Holt, gave tasteful keyboard work to "Heartfelt" and "So Easy" (wry post-exit relationship songs).

"Dog Won't Hunt" features Coleman on an amped up acoustic through a fuzzed out Vox amplifier. Eamon McCloughlin adds gorgeous strings to the groove heavy song about devotion to marriage.

All seven songs feature the powerful rhythm section of Dave Ray on a 1968 Slingerland drum set and Paul Slivka with his vintage Gibson Les Paul recording bass (oh so many switches).

01. Dog Won't Hunt
02. Heartfelt
03. Half The Price
04. Homesick
05. Never Been Good
06. So Easy
07. Cough Drop

Dave Coleman - Vocals, Acoustic, Pedal steel Guitar, Farfiza
Dave Ray - Drums, Vocals
Paul Slivka - Bass Guitar

Jimbo Mathus - Aoustic Guitar (1), Mandolin. Harmonica (3)
Eamon McLoughlin - Violin, Viola (1)
Ericson Holt - Organ (2), Wurlitzer (6)


domingo, 7 de dezembro de 2014

The Good Rats - Play DUM

The Good Rats - Play DUM - 2002

Em meados da década de 1990, Peppi Marchello e os filhos Gene Marchello e Stefan Marchello começaram a tocar sob o nome "The Good Rats". Desta fase sairam 3 CDs de estúdio, Tasty Seconds (1996), Let's Have Another Beer (2000) e Play Dum (2002)

O Nome da banda na verdade era DUM, mas quase todo mundo sabia que se tratava mesmo é da Goods Rats. Play Dom é composto por 7 músicas do " Let's Have Another Beer" (Beethoven, Ashes to Ashes, Elbo, 6000 Days, The Springer Sing Along, Mean Mother Fucker e Let's Have Another Beer (que foi renomeada para World Party Anthem)

Acrescentaram 3 faixas do Tasty Seconds: She's Staying Home Tonight, Thunder Rocks My Soul e Football Madness, basicamente com uma nova mixagem e algumas guitarras adicionais e regravaram Joey Ferrari e Mr. Mechanic  que originalmente sairam em albuns anteriores da Good Rats

Para completar as 15 faixas deste CD que você não encontra mais para comprar nem no site oficial da banda, gravaram uma nova música, Rock Radiold (cantada por Stefan Marchello) e fizeram versões mais curtas para as faixas World Party Anthem e Ashes to Ashes.

O resto, como de costume para os discos da banda, é pura diversão e puro rock and roll sem frescuragem.

01. Beethoven
02. Ashes To Ashes
03. Elbo
04. 6000 Days
05. The Springer Sing Along
06. Mean Mother
07. World Party Anthem (Let's Have Another Beer)
08. She's Stayin' Home Tonight
09. Thunder Rocks My Soul
10. Football Madness
11. Joey Ferrari
12. Mr. Mechanic
13. Rock Radiold
14. World Party Anthem (short)
15. Ashes To Ashes (short)


sexta-feira, 5 de dezembro de 2014

Ian McLagan And The Bump Band- Live At WXPN

Ian McLagan And The Bump Band- Live At WXPN - 2008

Um bom bootleg gravado numa das inúmeras vezes que se apresentou na rádio WXPN. Não tem capa, nem detalhes de quando, aonde e com que rolou a apresentação. Só dá pra saber que fora meses antes do lançamento de Never Say Never, pois ele fala sobre uma nova música que sairá no álbum que sairia um pouco mais a frente.

Este é um registro que eu tenho desde 2008 e sempre quis ter soltado por aqui. Mas por muito tempo sempre fui postergando, trocando por outro, achando que tinha coisa melhor, etc.....

01. You're So Rude
02.  I'm Hot You're Cool
03. Spiritual Babe
04. Kushty Rye
05. Little Trouble Maker
06. Glad And Sorry
07. Never Say Never
08. Follow


terça-feira, 2 de dezembro de 2014

Jimbo Mathus & The Tri-State Coalition - Oxford Sounds Presents

Jimbo Mathus & The Tri-State Coalition - Oxford Sounds Presents - 2012

Along with his work in the Squirrel Nut Zippers, singer/songwriter/multi-instrumentalist Jim Mathus pursued projects outside of the group (often under slightly different names, including James Mathus, Jas Mathus, Jimbo "Hambone" Mathus, and Jimbo Mathus), appearing on collaborator Andrew Bird's albums Thrills and Bowl of Fire. In 1997, Mathus, Zippers bassist Stu Cole, producer Mike Napolitano, and pianist Greg Bell formed the Knockdown Society and released Play Songs for Rosetta, a collection of bluesman Charley Patton's songs that benefited his daughter Rosetta and her family. 

His music took another turn in late 2001 with the release of National Antiseptic, this time offering tribute to the electric juke joint swamp rock of the Deep South. Mathus followed up with the similarly bluesy and eclectic Stop and Let the Devil Ride in 2003, and two years later Knockdown South was issued. Mathus decided to return to the acoustic roots of Mississippi blues and country with Old Scool Hot Wings, which came out in 2006. 

Also appearing in 2006, this time under the name Jimbo Mathus, was the album Jimmy the Kid, released by Artemis Records. Mathus stuck with the Jimbo moniker for his 2011 full-length Confederate Buddha. Blue Light, a six-song solo vinyl EP, arrived in 2012, followed by the full-length White Buffalo in 2013, which was attributed to Jimbo Mathus & the Tri-State Coalition, a group that included guitarist Matt Pierce, bassist Terrence Bishop, keyboardist Eric Carlton, and drummer Ryan Rogers. 


01. Leash My Pony
02. Aces And Eights
03. Town With No Shame
04. Cling To The Roots
05. Days Of High Cotton