and general entertainment reviewers. The current edition of The Mannish Boys features a veritable one-band blues festival of talent; most of the members either lead or are integral members of other successful touring and recording bands. They've honed their blues to a brilliant edge through appearances before sold-out crowds and on festival stages in the U.S., Canada, and in Europe. Their new live recording, "Live & In Demand", captures The Mannish Boys at the top of their game at the 2005 Winthrop Blues Festival, rolling out their dynamic, non-stop, old-style 'blues revue' featuring acclaimed veteran bluesmen Finis Tasby, Johnny Dyer, Kid Ramos, Franck Goldwasser, Leon Blue, Randy Chortkoff, Richard Innes and Tom Leavey.  (less)

friends) can mix and mingle with rap, turntablism, trip-hop, and--of course--tongue-in-cheek humor. And while this idea may sound original, its name came straight from an episode of Chris Elliott's short-lived sitcom Get a Life . Elliott--the goofball writer and cameo guest for David Letterman--springs up a few times on the disc in the form of a few vocal samples, but mostly this show is centered around the guests: Encore provides the disc's best rap on "Waterworld," Grand Puba and Sadat X (from Brand Nubian) perform "Once Again" on top of a sample of Three Dog Night's "Old Fashioned Love Song," and DJ Shadow does his usual magic with the 1200s on "Holy Calamity." Miho Hatori (Cibo Matto), Mike D., Sean Lennon, Alec Empire, and even Father Guido Sarducci are...  (less)

album is perfectly suited to Top 40, Spanish and adult-contemporary radio--all at the same time. At times tracks such as "Onda" and "Dime Mi Amor" recall 1970s-era Santana, but the Boys are at their best on "Heaven," the feel-good first single, and "La Contestacion," a yearning ballad matched by pleading instrumentation. As a bonus, this Special Edition includes Spanish versions of "Heaven" and "More Than Love," but the real highlight is a Southern-fried take on Johnny Cash's "I Walk the Line." That the boys manage to make the classic song their own is no small feat. There's also a DVD featuring thoughtful live performances and music videos that offer a glimpse of the Boys in action. --Joey Guerra  (less)

Bands Tour around the Release. "it's Not So Much a Case of 'most Likely To'. Boy Kill Boy Are Being Talked About as Rock's 'most Definitely Going To'. - Nme  (less)

West Virginia cave. Adopted by the family of the town's vet, Edgar--as he comes to be known--actually goes on to acquire an education and even falls in love with the vet's daughter, all the while struggling to keep his blood thirst under control. Things end tragically--unsurprisingly, interspecies romance is still battling considerable prejudice in this country. Composer-lyricist Laurence O'Keefe came up with catchy songs that owe a lot to late 1960s and early '70s rock musicals such as Godspell and even The Rocky Horror Show . Skillfully walking the thin line between over-the-top camp and actual emotion, O'Keefe has written a wonderful little musical that cleverly deals with issues of difference and community values. As weird as it sounds, we foresee quite a future for Bat Boy in amateur pr...  (less)

day. Years have gone by...but Common Threads remain-four part harmony; love for God, faith, family and country; an ability to bring a stage to life. Enjoy an "uncommonly" successful group joined through the years by a Common Thread.  (less)

his band Deep Feeling at the legendary night club, The Elbow Room in Birmingham, England, became the birthplace of Traffic. Steve Winwood was attracted to this early type of psychedelic music which Jim was then playing and was impressed by the large following Deep Feeling were building. Winwood often would come along to jam and as his friendship grew closer and Traffic was born. The rest is history. Apart from Traffic’s ten album, multi platinum career, fuelled by Jim’s writing partnership with Steve, Jim has enjoyed a solo career with twelve albums to date. With his new recording, Poor Boy Blue, Jim was keen to explore his roots and used quite a lot of classic instrumentation to achieve the particular sound he was looking for on this album. The basis for the album and most wor...  (less)

shouts, lofty cries, and rumbling, emotional singing that seems to have the power to move mountains. The group stick to their well-known "mother" theme (their first hit was the mind-blowing "I Can See Everybody's Mother, But I Can't See Mine" in 1949) on these two early '70s LPs, issued here as one CD. No less than three songs mourn the death of a matriarch--the bluesy, brilliant standby "Alone and Motherless," the moody, slow-tempo "When I Lost My Mother," and the revved tearjerker "Goodbye Mother." The group singing is tight, the tempo and material varied, the minimal percussion perfectly complementary, the guitar playing subtle, sparse, beautiful. But the real treat is when the five singers wind each other up, like a spinning top, into ecstatic realms of ent...  (less)

their entire catalog in remastered versions. Girls To Chat & Boys To Bounce originally hit the Billboard charts in 1981.  (less)

else--Jimi Hendrix was one fine blues guitarist. Combining the fluid lines of B.B. King with the spikiness of Hubert Sumlin and the crying tone of Elmore James with his usual synapse-frying intensity, Hendrix manages to both honor the music tradition while remaining uniquely himself. These studio outtakes and warm-ups (plus one previously released track, the magnificent "Hear My Train a Comin'") include a playful "Mannish Boy," the slow burn of "Once I Had A Woman," and a metallic "Bleeding Heart." --Steven Mirkin  (less)

Catch Bull at Four proves that the Cat had seen darkness, too, and that those darker elements had become more pronounced than they'd been in the past. His vocal style shifts from the cool croon that made Tea for the Tillerman and Teaser and the Firecat top sellers to a harsher, almost growling delivery. The album's standouts--the wistful reverie "Sitting" and the delightfully infectious "Can't Keep It In"--are resolute in lyric and melody. Rambling, mystical odes such as "The Boy with a Moon & Star on His Head," "Angelsea," and "Sweet Scarlet" offer quaintly romantic imagery and lavishly undulating melodies. But it's the mercurial dynamics and driving melody of "18th Avenue (Kansas City Nightmare)" and the bitter conviction...  (less)

trees is an affecting metaphor for human struggle and perseverance. This idea is central to Learning To Bend. Key tracks on Learning To Bend include two reactions to the current political landscape, A Few Honest Words, and an adaptation of Sam Cooke s A Change is Gonna Come, in which Ben has written updated, politically relevant verses. Other highlights of the album are the playful, soul track, How To See the Sun Rise and the vulnerable yet insistent It s Not Impossible, where Ben laments the unfortunate status quo that boys don t cry. Ben has found considerable success in recent years through his ability to bend. In 2007, he was named one of NPR s Top Ten Unknown Artists of the Year. His distinctive cello technique and soulful voice have been mar...  (less)