The Epic 2017 Project #285: 171012
Tony Sarno – It’s a blues thing (2007)
Debut album from American blues guitarist/singer/songwriter based in Nashville, Tennessee.
“I Ain’t Superstitious” is a song written by bluesman Willie Dixon and first recorded by Howlin’ Wolf in 1961. It recounts various superstitions, including that of a black cat crossing the pathway. The song has been recorded by a number of artists over the years including Jeff Beck, Cry of Love (Epic #42) and here, Tony Sarno.
The Epic 2017 Project #284: 171011
Eric Sardinas – Devil’s Train (2007)
Eric Sardinas (born November 10, 1970) is an American blues-rock slide guitarist born in Fort Lauderdale, Florida. He is noted for his use of the electric resonator guitar and his live performances.
Eric began to play the guitar at age six and leaned toward vintage recordings by such Delta bluesmen as Charlie Patton, Bukka White, Big Bill Broonzy, Elmore James, and Muddy Waters. Although he was left-handed, he eventually started to play right-handed.
In 2002, he was featured on the Bo Diddley tribute album Hey Bo Diddley – A Tribute!, performing the song “Ride On Josephine”.
He signed to Steve Vai’s Favored Nations record label and was the opening act for Vai’s The Real Illusions Tour 2005 around the world. Devil’s Train is his second studio album.
The Epic 2017 Project #197: 170716
Anders Osborne – American Patchwork (2010)
Grammy-award winning guitarist/singer/songwriter Anders Osborne blends blues, rock and roll and New Orleans funk and R&B to create a distinctive genre-bending style that has captivated music fans and fellow performers alike. He wrote “Watch The Wind Blow By,” a No.1, million-selling country hit for Tim McGraw and two tracks on bluesman Keb’ Mo’s Grammy-winning album Slow Down. American Patchwork is an intensely soulful album, ranging from gentle ballads to burning rockers, including some truly amazing guitar playing. Galactic’s Stanton Moore and Corrosion of Conformity’s Pepper Keenan guest.
The Epic 2017 Project #193: 170712
Omar – Blues Bag (1991)
Omar Kent Dykes (born Kent Dykes, 1950, McComb, Mississippi, United States) is an American blues guitarist and singer, living in Austin, Texas. In 1973 he formed the band, Omar & the Howlers. The band plays electric Texas blues, rock and roll and blues-rock. Dykes has also had a successful career as a solo artist, and regularly toured European countries.
Among his solo albums are Blues Bag from 1991, and Muddy Springs Road from 1994
The Epic 2017 Project #185: 170704
Nine Below Zero – Sub Zero (2013)
Album number five from the South London post-punk blues gurus released in 1991.
And here they are performing the Old Grey Whistle Test theme – on ‘The Old Grey Whistle Test’; best music programme the UK ever produced.
The Epic 2017 Project #173: 170622
John Mayall – The Blues Alone (1967)
The Blues Alone is a 1967 electric blues album recorded by John Mayall on which he recorded all the parts himself, with the exception of percussion which was provided by longtime collaborator Keef Hartley.
The cover art and the original LP sleeve design are by John Mayall. Sleeve notes, including track notes, were written by noted DJ John Peel. And this is what he said about the album’s concept…
I was featuring his LP A Hard Road on the air and was amazed that, in addition to writing 8 of the 12 numbers on the record, playing 5 [sic] and 9 string guitar, organ, piano, harmonica and singing, he had written the sleeve notes and painted the portrait of the group on the front cover. With this new LP he has carried all of this to its logical conclusion and has produced a record featuring no other musician than himself except for the occasional aid of his drummer Keef Hartley.
The Epic 2017 Project #165: 170614
Love Sculpture – Blues Helping (1968)
Love Sculpture were a Welsh blues rock band of the late 1960s, led by Dave Edmunds , plus bassist John David and drummer Rob ‘Congo’ Jones, their debut album ‘Blues Helping’ was released on Parlophone Records in December 1968
Based in Cardiff, Love Sculpture disbanded in 1970, although Edmunds went on to enjoy solo success in the 1970s. Here’s the rather excellent final track (and name-giver) of the debut album.