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Overton Music artist: Russ Green - Stone Cold - New Release Review

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 I just had the opportunity to review the most recent release, Stone Cold , from Russ Green , and it's a driving blues rocker. Opening with Lint Redux , you are immediately in the middle of a swampy blues with modern effects. With a firm foot stomp by Felix Pollard on drums and Vic Jackson on bass Russ Green on harmonica and vocals really has the earthy feel. Giles Corey on slide gives the track great grease and Green's harp work is strong. Excellent opener. 12 Feet of Water opens with a terrific harmonica aria before grinding into a super drum driven romp. With the feel that I can only describe as Hill Country , Green delivers such soulful vocals, comforted by Joe Monroe on keys, this track just grabs you. Green's harmonica is like a shuddering wind blowing through you with the thumping bass of Vic Jackson and Vince Agwada on guitar. Excellent! Easy going shuffle, Nobody Knows has a smooth, supple melody with backing acoustic guitar, minimal drum work and melodic ha...
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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!


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Who'll Get It When I'm Gone - Mary Jackson, Perry Bradford's Jazz Phools

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Perry Bradford (14 February 1893, Montgomery, Alabama – 20 April 1970, New York City) was an African-American composer, songwriter, and vaudeville performer. Perry Bradford grew up in Atlanta, where his family moved when he was six, and in 1906 started working with minstrel shows. He played in Chicago as a solo pianist as early as 1909 and visited New York City the following year. Through extensive experience with traveling minstrel shows and theatre companies, Bradford obtained huge exposure and experience to African American folksongs. A huge feat of Bradford’s was severing the walls of racial prejudice that kept African-American singers from recording. He is, too often, unrecognized for this accomplishment. Prior to Bradford’s influence, African-American artists recorded in a style that was closely similar to those of white dance orchestras. There was little to no trace of African-American musical characteristics present in their recordings. Bradford persevered in getting the recor...