ELMORE JAMES: A very useful mini-biography

Not my words, but …….. “No two ways about it, the most influential slide guitarist of the postwar period was Elmore James, hands down. Although his early demise from heart failure kept him from enjoying the fruits of the ’60s blues revival as his contemporaries Muddy Waters and Howlin’ Wolf did, James left a ……..” […]

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SAXON: Baptism Of Fire: The Collection 1991 – 2009 (2CD)

Saxon are one of the leaders of the new wave of British Heavy Metal and are established as one of Europe’s biggest metal acts, influencing the likes of Metallica, Mötley Crüe and Megadeth. With BiffByford at the helm, this compilation sees the South Yorkshire heavyweights return to form.This 2CD collection of all the biggest hits […]

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Whatever happened to Hi-Fi Shows and the importance of both Patricia Barber and Radka Toneff?

Tony Andrews (contributing editor – jazz) writes: Back in the 1980 and 90s if you were in to Hi-Fi there were some great shows around in the London area. I can remember many happy hours spent at various locations near Heathrow and also at The Novotel in Hammersmith. As venue costs soared and demand dropped […]

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Wayne Shorter: one of the greatest saxophonists in history

Originally published November 2013 Ivan Hewett writes: Two great saxophone colossi have bestridden the London Jazz Festival (now the EFG London Jazz Festival) in recent years. One is Sonny Rollins, who despite health problems made a triumphant appearance at the 2012 festival, in his 83rd year. The other is Wayne Shorter, who turns 80 this […]

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The Six Most Overlooked Blues-Rock Guitarists?

Reverend Keith A. Gordon / ThoughtCo writes: Let be honest here, shall we? Blues-rock fretburners like Eric Clapton, Jimi Hendrix, and Stevie Ray Vaughan typically receive all the love while other talented guitarists are too often forced to wait in line to gather up whatever crumbs of critical acclaim remain. These skilled musicians bring plenty […]

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Can modern music be high-end?

Paul McGowan: If our definition of high-end is lifted from The Absolute Sound Magazine’s tenet: “the sound of unamplified instruments and/or voices as heard in a natural, acoustic performance space” then does it make sense that modern electronic or multitracked music can ever be considered high-end? I believe it can, but not before broadening our definition. […]

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