• http://static.blogstorage.hi-pi.com/photos/barking.musicblog.fr/images/gd/1222808094/PATATES-RATS-F-ska-le-vendredi-24-octobre.jpg

    http://www.patatesrats.net

    http://www.myspace.com/patatesrats

    Origine du Groupe : France

    Style : Ska , Punk , Rock , Hip Hop , Dub

    Sortie : 2008




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    From Official Site :

     Explosif, fougueux, bouillonnant tels sont les résonances de Patates Rats. Formation de 5 musiciens, amis de lycée, née fin 2002 entre les Hautes Alpes et Grenoble.



    Après avoir gratté leurs premiers morceaux sur l'asphalte, c'est en 2003 que le groupe délaisse l'acoustique et s'arme d'un trombone pour rejoindre les scènes amplifiées. Une formation rock dopée
    par la chaleur du reggae. En 2005 le groupe autoproduit son premier album "Fuite des Sens" et l'écoule en quelques mois. Depuis sa naissance, Patates Rats a donné plus de 240 concerts en France,
    en Suisse et en Belgique.



    En 2008, ils remettent le couvert avec "Où est la Sortie ?". Un second opus au mix explosif porté par un chant aux aspirations hiphop, des textes acides, bien trempés, une musique mélodique,
    cuivré, tranchante.

     



    Tracklist :

    1. Hang à l'air de cordes

    2. Blog

    3. En décalage

    4. Ta gueule!

    5. Les jours passent

    6. Debussy Dub

    7. Tomber dans l'panneau

    8. C'est du propre

    9. Chanson d'amour

    10. En manque d'R

    11. Utopie Active

    12. Un trot

    13. Secret Track

     

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  • http://i586.photobucket.com/albums/ss305/ninitijger/PURPLE.jpg

    http://www.lilliline.com

    http://www.myspace.com/spanglecalllilliline

    Origine du Groupe : Japan

    Style : Alternative , Electo Pop , Electro Acoustic , Downtempo

    Sortie : 2008




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    Tokyo’s Shimokitazawa district has continually been one of the hot spots for indie rock action, and over the past several years, numerous groups sporting a laid-back style have come to the
    forefront of the scene. Amongst these musicians (loosely grouped under downtempo), Spangle call Lilli line has arisen as one of the flagship bands.



    In keeping with Spangle call’s standard rock instrumentation, their style reaches well beyond downtempo, a relaxed and heavily electronic genre. While the band is often described as post-rock,
    their sound is more of a compromise between the two. Songs are not bound by verse-chorus convention, but drift lazily, guided by a light melody. The guitars and varied percussion together with
    numerous (and frequently spacey) electronic additions weave a sound that, while complex, flows very evenly. Otsubo Kana’s wispy vocals contribute an organic piece to the melody as well, while
    adding to the relaxed atmosphere.



    Spangle call Lilli line’s beginnings trace back to Otsubo and Fujieda, friends from art school, who began playing together in December of 1998. Sasahara and drummer Kabasawa, also friends from
    university, joined in 1999 and 2000, respectively. The band was christened “Spangle call” (the “Lilli Line” to come later), derived from a Japanese pronunciation of “spangle” (“supankooru,”
    chosen for its sound), while the “call” was a continuation from the “kooru” of “supankooru.” Their self-titled debut was issued in March of 2001 on P-Vine, a label known for electronic and jazz
    units including Date Course Pentagon Royal Garden and Otomo Yoshihide.



    The band continued their trademark style through their third album, 2003’s or, in which they aimed to consummate their established sound. The trying studio work leading up to or proved to be the
    band’s breaking point, causing mental breakdowns in Otsubo and the February 2003 departure of their drummer, who had provided much of the creative direction for the album. With Kabasawa gone from
    the lineup, Spangle call was free to indulge in influences such as R&B, soul, and Motown that their drummer, who had an affinity for lo-fi and post-rock, did not favor.



    These changes surfaced in Spangle call’s April 2005 album Trace, which was nearly two years in the making (excluding their live release 68SCLL). With Trace, the members recount that they were
    looking to remove the excess from their music and sound like a new band, as if the album was their debut. The new release was indeed different from its predecessors, with a poppier, R&B style
    and tracks that were, on the whole, shorter than the usual Spangle call fare.



    Shortly after Trace, the release of For Installation, more in tune with the band’s classic style, ensued in June. The tracks are mostly comprised of studio outtakes, but according to Fujieda,
    “the feeling of the album will be clearly different” from that of Trace. Though nothing has been formally announced, the enterprising trio is gearing up for another release in the future.



    by http://www.thesirenssound.com

    permalink





    Tracklist :

    01. mai

    02. unknown

    03. nm

    04. rio

    05. cast a spell on her

    06. a portrait

    07. sea

    08. shell for mew

    09. early monsoon

    10. when we were

    11. screen

     

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  • http://sosq1-static.yoddha.anorg.net/release/7395.jpg

    http://www.myspace.com/poodleplayarchetype

    Origine du Groupe : U.K

    Style : Electro Ambient

    Sortie : 2010





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    From http://sonicsquirrel.net :

    The second release on BFW recordings by Manchester's Poodleplay Arkestra is another fantastic EP. And again, hard to define. This is warm ambience - the Jon Hassell/ Brian Eno influence is there,
    but there is something else that gives this EP a unique character.

    Get it downloaded!



    Tracklist :

    01 - A God Stepped Down From The Mountain

    02 - Conversations With Ice Cream Men

    03 - Red Birds In Yellow Flowers

    04 - Happy Dog Barking

    05 - Postcards From A Civilised World

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  • http://ekladata.com/lnyX4o7KU4Kt4ADxYkWduUu-SUc.jpg

    http://ethiopiques.info

     

    Origine du Groupe : V.A Ethiopia

    Style : World Music , Jazz World , Ethio-Jazz

    Sortie : 2007





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    From Official Site :

    Over the last 10 years, music aficionados across the world have become familiar with Francis Falceto’s remarkable work re-releasing vast quantities of modern Ethiopian music as
    ‘The Ethiopiques series’ on Buda Musique. But now this enthusiasm has spread to infect another top re-issuing label, as Union Square Music have taken it upon themselves to assemble an Ethiopian
    music collection with a different slant. An enormous undertaking, drawing from all 21 volumes of the original ‘Ethiopiques’ series, ‘The Very Best of Ethiopiques’ (2CD) represents a new take on
    Ethiopian Music as compiler and sequencer Iain Scott (assisted by Steve Bunyan and Francis Falceto) has made the first ever compilation of modern Ethiopian music specifically for the contemporary
    western ear.

    CD1 breaks new ground by focusing on modern Ethiopian tracks able to shake dance floors as much as any world music connoisseur’s mp3 headphones. Aimed at all those who were
    dazzled by re-issue releases such as Russ Dewbury’s ‘Africa Funk’ 1998 (exposing Fela Kuti and Manu Dibango to a club audience for the first time), this does the same for ‘Ethiopian Groove’,
    offering a sparkling collection of songs bursting with Ethiopia’s unashamed and open enthusiasm for absorbing the influences of 1960-70s Afro-America. Throw into this mix a few more tunes made
    popular by the soundtrack for Jim Jarmush’s ‘Broken Flowers’ and you have the ultimate Ethiopian cross-over selection.

    CD2 is a little different. A real delight for those slightly more accustomed to the exotic differences of World Music, as here the groove is hidden more deeply within,
    requiring time to grow but then emerging more with each listening. If CD1 is the Ethiopian ‘Master Cuts’, then CD2 is the Ethiopian ‘Buena Vista Social Club’ selection, defining a unique modern
    music scene at its discernible peak.

    With ‘The Very Best of the Ethiopiques’ (2CD) perhaps the last great hidden treasure troves of modern African music has finally been made available to the mainstream
    public.
    A very special occasion indeed.

    Enjoy!

     





    Tracklist :

    1. Tesfa Maryam Kidane — Heywete

    2. Mulatu Astatqe — Yekermo Sew

    3. Mulatu Astatqe — Yekatit

    4. Girma Beyene — Enken Yelelebesh

    5. Bahta Gebre Heywet — Ewnet Yet Lagegnesh

    6. Mulatu Astatqe — Gubelye

    7. Mahmoud Ahmed — Ere Mele Mele

    8. Mahmoud Ahmed — Metcha New

    9. Alemayeha Eshete — Tchero Adari Negn

    10. Alemayeha Eshete — Telentena Zare

    11. Wallias Band — Muziqawi Silt Play

    12. Ayalew Mesfin & Black Lion Band — Gedawo

    13. Tlahoun Gessesse — Tchuheten Betsemu

    14. Menelik Wesnatcher — Tezeta

    15. Tsegue Maryam Guebrou — Mother's Love

    16.
    Tlahoun Gessesse — Sema

    17. Tewelde Redda — Milenu

    18. Beyene Habte — Embi Lla

    19. Mulatu Astaqe — Tezeta

    20. Girma Beyene — Set Alamenem Play

    21. Muluqen Mellesse & Dahlak Band — Bene Mote

    22. Getatchew Mekurya — Antichi Hoye

    23. Tlahoun Gessesse — Kulun Mankalesh

    24. Getatchew Mekurya — Shellela

    25. Seyfu Yohannes — Mela Mela

    26. Mahmoud Ahmed — Atawurulegn Lele

    27. Mahmoud Ahmed — Fetsum Denq Ledj Nesh

    28.
    Alemu Aga — Abatatchen Hoy

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  • http://multimedia.fnac.com/multimedia/images_produits/ZoomPE/9/9/4/0180030000499.jpg

    http://www.little-axe.com

    http://www.myspace.com/littleaxesound

     

    Origine du Groupe : North America

    Style : Blues , Alternative , Soul

    Sortie : 2010





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    After nearly two decades of blues re-invention, singer/guitarist Skip McDonald has perfected his particular and peculiar metamorphosis of the form. Is Little Axe a band or an
    alternative name for McDonald himself? It's quite possibly both, as every live appearance possesses a very strong group vibration. McDonald now prefers the stance of grizzled bluesman from
    Dayton, Ohio, but his prime breakthrough came as a member of Sugar Hill Records’ in-house band, and had formed Tackhead by the time the mid-80s arrived.

    Regardless of whether his assumed 'authenticity' is similar to that sought by born-again bluesman Keb' Mo', it's not really an issue when McDonald clearly embraces the
    form with authority, creativity and innovation. A massive part of the already massive Little Axe sound has always been provided by dub-king producer Adrian Sherwood, his influence so sonically
    pervasive that he counts as an equal collaborator. The old master-crew is assembled for these sessions in
    Peter Gabriel's Real World studio: bassist Doug Wimbish, drummer Keith
    LeBlanc and soaring singer Bernard Fowler. There are also two guest vocal spots from Jamaican veteran Ken Boothe. Less familiar, but still crucial to this album is harmonica player Alan Glen,
    whose stinging trills lift up nearly every song.

    The feedback avenues are now beyond easy tracking, as old blues elements are channelled through fresh techniques. There are even versions of two Tackhead songs, further
    confusing the lineage between old-timey rural foot-clumping and shining 1980s funk-hop beats. There's a reading of the song popularised by long-departed down-home bluesman
    Son House: his Grinnin' In Your Face is shortened to Grinning.

    The album opens and closes with 50-second mini-songs, their gospel traits swirling into the heavens. Most of the remaining bulk favours a much longer six-minute average within
    which to slink and saunter, emanating a spellbinding aura. The distinctive Little Axe sound is a dreamy miasma, creaming up elements of funk, rock, soul and gospel. It's perpetually intertwining
    into a genre weave. The vocal layers build up a call-and-response thickness, and a couple of tunes even hint at ska and reggae rhythms. The cumulative slowness begins to take on the feel of an
    imaginary
    Funkadelic ballad collection.

    The guitars are always draped in exotic echo, held in perpetual slow motion, except for when Hammerhead gets to sludge-truckin' and Return proves itself the hardest and
    heaviest track. By this time, there's a beautifully sustained flotation in place.

     

    by Martin Longley

    permalink

    Tracklist :

    01 – Guide My Feet

    02 – Soul of a Man

    03 – Grinning

    04 – Take a Stroll

    05 – Hands Off

    06 – Can’t Sleep

    07 – Hammerhead

    08 – Can’t Stop Walking Yet

    09 – Hear Me Cry

    10 – Too Late

    11 – Another Friend Gone

    12 – Tell Me Why

    13 – Return

    14 – When the Sun Goes Down

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  • http://static.boomkat.com/images/230930/333.jpg

    http://www.psapp.net

    http://www.myspace.com/psapp

    Origine du Groupe : U.K

    Style : Alternative , Electro

    Sortie : 2009




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    UK duo Psapp (Carim Classmann and Galia Durant) have continued to solidify themselves as child musicians in adult bodies with their unique brand of toytronica. The esoteric clicks, the
    otherworldly blips, the raucous bangs of child’s play are all simply instruments in the minds of Classmann and Durant. And the kitsch doesn’t stop there; the two have an odd obsession with cats,
    which pops up everywhere on their albums and on stage (they thrown handmade cats into the crowd).



    And so, after making some noise (pun intended) in the electropop genre, Psapp has gone back to the old hard drives and dug up some of their earlier cuts and whatnot for Early Cats and Tracks
    Volume II. Truthfully, these tracks are not too unlike those on Tiger, My Friend.  “Northdown C” seems to have taken the rain from the beginning of “Tiger, My Friend” and given it new life
    with a hand drum beat and the bright tinkle of a plaything in the distance. “Happy Lamb” sounds like a typewriter bred with an organ and had children proficient in the marimba. Though many of the
    tracks on here appeared on earlier EPs or Psapp’s debut Japanese-only release Northdown, the true highlight of this EP is “Who Knows My Ohs”, featuring Durant’s sultry sweet alto vocals laced
    craftily over a strumming guitar and the frenetic plucking of a toy.



    by Carl Sandburg Visits Me In A Dream

    permalink





    Tracklist:

    1. "Feel the Fur"                   3:58

    2. "Dad's Breakdown"        3:04

    3. "Scissory"                         4:09

    4. "Northdown C"                4:38

    5. "Happy Lamb"                 3:53

    6. "Whores"                          2:24

    7. "How Things Turn Up"   4:57

    8. "Who Knows My Ohs"    3:47

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  • http://ekladata.com/cmTv-pwaR3s16ylNLX5VAumehbI.jpg

    http://www.sashasokol.org

    http://www.myspace.com/sashasokoloficial

    Origine du Groupe : Mexico

    Style : World Music , Flamenco , Vocal

    Sortie : 2004




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    When I heard Sasha was going to record an album of rancheras I really did not know what to expect. She does not possess the booming voice of most singers of this genre. But that's ok. Sasha's
    never had much of a voice to brag about. But that's what I like about her. The honesty, the emotion that she evokes, the simpleness. Right off the bat one will notice the obvious influence of say
    Chavela Vargas. Don't dismiss this as a knock off. Sasha has taken traditional rancheras and stripped them down to their barest musical elements while adding to them jazz and even flamenco
    (influenced probaby by her new residence in Madrid). I admire her for baring her soul as an artist and taking the biggest risk of her career. This album is at times dark, moody, but aren't a lot
    of rancheras? Sasha congrats on an amazing artistic achievment. I just hope the US will be exposed to this album as well. Also note that the Mexican edition of this CD (due in August) will differ
    slightly to this Spanish edition (tracklisting mainly). If you can get your hands on this you will not be dissapointed.



    by Joseph Valenzuela "milwaukee sister"

    permalink





    Tracklist :

    1 Por Un Amor

    2 Te Solté La Rienda

    3 El Crucifijo De Piedra

    4 Arrastrando La Cobija

    5 La Cucaracha

    6 De Los Pies Hasta La Frente

    7 Ella

    8 En La Borrachera

    9 El Gustito

    10 La Noche De Mi Mal

    11 Paloma Negra

    12 Cuando Sale La Luna

     

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  • http://ekladata.com/_FktwgeWryImF4cb6hNVdNkpWaA.jpg

    http://www.thirdworldband.com

    http://www.myspace.com/thirdworldreggaeband

    Origine du Groupe : Jamaica

    Style : Reggae

    Sortie : 2001



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    From Wikipedia :

    Third World est un groupe de reggae formé en 1973 par Stephen 'Cat' Coore à la guitare, et Michael 'Ibo' Cooper clavier, qui venaient de quitter
    Inner Circle.

    Le groupe attire vite l’œil du public par des prestations live de très bon niveau (première partie de Bob Marley lors de sa tournée internationale de 1975). En effet, à l'instar de Bob Marley and the Wailers, et contrairement à beaucoup de groupes jamaïcains
    des années 70, Third World est un groupe complet de musiciens. (Les autres groupes étaient généralement des chanteurs qui se faisaient accompagner par des musiciens de studios "partagés"
    entre différents groupes et faisaient très rarement des concerts)
    .

    Third World est aussi connu pour avoir proposé un reggae "savant", virtuose, très travaillé, et très composé, et donc assez éloigné du son "roots" de leur époque. On peut le voir avec des
    morceaux studios durant plus de 5 minutes, ou des lives avec beaucoup de passages improvisés et des solos. D'ailleurs ses deux membres fondateurs Steven "Cat" Coore guitariste (à la base
    violoncelliste), et "Ibo" le clavieriste ont eu tous les deux une formation de musiciens classiques, ce qui pourrait expliquer le style de ce groupe.

    Leur premier album éponyme sort en 1976 et rencontre un beau succès.

    Mais c’est incontestablement avec leur second album "96 degrees in the shade" (1977) qu’ils rentrent dans l’histoire du reggae avec des titres comme « Jah Glory » ou
    « 1865 (96 degrees in the shade) ». Suivrons alors les albums "Journey to Addis" (1978), "Arise in Harmony" (1979).

    En 1998, ils ont collaboré avec Shaggy et Bounty
    Killer
    pour la chanson Reggae Party.

    En 2002 la chanson Reggae Ambassador est intégrée à la bande originale du film Ali G avec Sacha Baron Cohen.

    En 2003 on retrouve Third World et Pierpoljak sur le Titre Attention du chanteur Jamaicain U-Roy

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  • http://ekladata.com/a5xwFJYm5SQdjLoZtBRVzLd6cSQ.jpg

    http://www.myspace.com/semossamuelelerumba

    Origine du Groupe : Spain

    Style : World Music , Rumba , Flamenco , Alternative

    Sortie : 2009




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    Este grupo de Sabadell, al igual que muchos grupos de los que han aparecido por estos lares, se caracteriza por la riqueza y la cantidad de registros musicales que incluye su música, entre los
    que se encuentran la rumba catalana, el flamenco, la música latina, el funk, la bossa-nova ó el jazz, lo que nos garantiza un continuo espectáculo lleno de sabor, ritmo y fiesta dentro y fuera de
    los escenarios, es decir, arte pa’ jartarte.



    Después de varios años de conciertos y de asentamiento del grupo, este año lanzan su primera maqueta llamada ‘Despertares’, grabada en los estudios ‘La Butxaca’ de Sabadell. Compuesta por cinco
    temas que representan las vivencias de la banda, este trabajo hará las delicias de los aficionados a esta fusión de músicas.



    Actualmente, Samuel eLe Rumba está formada por 9 integrantes: Yolanda (voz), Helios (guitarra), Luis (bajo), Marc y Pol (percusión), Oriol (batería), Oleguer (flauta travesera), Junior (teclado)
    y David (técnico de sonido).



    by http://liberandomusica.blogspot.com

    permalink





    Tracklist :

    01 Tangos de afrodita

    02 Mi vida

    03 Buleriosa

    04 La brocha

    05 Noches de verano

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  • http://img.over-blog.com/555x358/2/19/05/98/Popa_Chubby_DC-20020217-20--550-.jpg

    http://www.popachubby.com

    http://www.myspace.com/popachubbyband

    http://www.waltertrout.com

    http://www.myspace.com/waltertrout

    Origine du Groupe : North America

    Style : Blues Rock

    Sortie : 2000

    http://loreillebleue.free.fr/images/Photos/Walter_Trout_01G_CR.jpg

     

     

     

     



     



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    From Wikipedia :

    Popa Chubby, de son vrai nom Ted Horowitz, est un chanteur et guitariste  de blues  et de rock  new-yorkais.



    Originaire du Bronx à New York, son style agressif est influencé par Willie Dixon ainsi que Jimi Hendrix, Randy Rhoads, Albert King ou encore Danny Gatton créant ainsi une synthèse Blues, Rock,
    Funk, Pop très personnelle mais transpirant le blues new-yorkais. Comme Calvin Russell, il a beaucoup plus de succès en France qu’aux États-Unis, où il n’est connu que des spécialistes, bien que
    la situation ait tendance à s'inverser. Son nom de scène est tiré d’une expression d'argot, "pop a chubby", qui veut dire "avoir une érection", mais peut également faire référence à son
    embonpoint (popa/papa joufflu). Chacun de ses albums est un concept en lui-même : un album de ballades avec des chansons comme Hallelujah, de rock-punk pur ("If the Diesel Don't Get You Then the
    Jet Fuel Will"), ou encore de blues comme "Back Door Man" où l'on sent bien la patte du "maître . Perfectionniste, c'est le roi des coups de gueule .



    En 2006 il entame une tournée en la commémoration de Jimi Hendrix, celui qui lui a fait découvrir le rock à la radio avec son Purple Haze. Il possède une collection de guitares dont une Fender
    que le fabricant n'avait pas répertoriée.



    Il joue également de la batterie, qu'il lui arrive de pratiquer sur scène.





    From Wikipedia :

    Walter Trout (born March 6, 1951, Ocean City, New Jersey, United States is an American blues guitarist, singer and songwriter.



    Trout's career began on the Jersey coast scene of the late 1960s and early 1970s. He then decided to relocate to Los Angeles where he became a sideman for Percy Mayfield and Deacon Jones. He also
    worked in the bands of John Lee Hooker and Joe Tex.



    In 1981 be became the guitarist for Canned Heat.[1] This led to an invitation to play in John Mayall's Bluesbreakers where he shared the stage with fellow guitarist Coco Montoya. He left the
    Bluesbreakers in 1989 and formed the 'Walter Trout Band' which developed a successful following in Europe.



    In 1994 the official Walter Trout Fan Club for the Netherlands and Belgium was founded, followed in 1996 by the official International Fan Club who has members in 14 countries in Europe, America,
    Asia and Australia. In 2006 the official International Fan club celebrated its tenth anniversary by giving fan club members an exclusive live CD recorded in Las Vegas, Nevada, which was the last
    performance of the late bassist, Jimmy Trapp, who died in 2005.



    In 1998 Trout released his self-titled US debut album and renamed his band 'Walter Trout and the Free Radicals' (later renamed 'Walter Trout and the Radicals' and currently simply 'Walter
    Trout'). Since that time Trout has been recording and touring in North America, Europe and India.



    In 2002, he was featured on the Bo Diddley tribute album, Hey Bo Diddley - A Tribute!, performing the song "Road Runner" and many more guest appearances on other recordings.



    The 2006 release Full Circle, meant that Trout realized his dream of creating an album with some of his most admired musicians, including John Mayall, Coco Montoya, and Joe Bonamassa, among
    others.

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