Just because . . . . . . .well Neil
Thursday, January 22, 2026
Wednesday, January 21, 2026
Album(s) of the Week : Liz Jones and Broken Windows - BRICKS & MARTYRS + solo Album ‘Bounty'
I have mentioned this lass before and we have featured her ‘Johnny Knows The Roads’ before and now she enticed me via Flickennabook that she would send her latest album with the band for just the post and packing (£3.50!!?!! signed copy too!) so What Can I Say!?
I really like her sound the band is tight as. . and her voice its just spot on! Bluesy, jazzy, edgy, rocky and easy on the ear too! and SO this is on the decks as we speak and I highly recommend it
The guys even personalised the delivery! (see piccie) so when I went to the site I thought why it would be churlish not to buy something in addition whilst I am there so I added ‘Bounty' which is a solo album! [a collection of her solo written work over the past ten years she says from 2022]
P.S someone can REALLY play guitar too! [John Bruce?] You know I can’t resist a SLIDE guitar!
Liz and the gang in Amsterdam - ‘Lethargy'
Flickkennabok here . . . .
live album from Amsterdam available now!
Bala Man - Liz Jones & Broken Windows - Live at the Voodoo Rooms 2022
TRIBUTE TO CHRIS REA R.I.P. | A Butterboy Special
Chris Rea – Blue Guitars [2005] (11 x CDs)
A BUTTERBOY COMPILATION
TRIBUTE CHRIS REA R.I.P.
Christopher Anton Rea (4 March 1951 – 22 December 2025) was an English rock and blues singer-songwriter, guitarist and record producer. He was known for his distinctive gravelly voice, slide guitar playing and music style blending soft rock with blues.
For me, his music has always carried a kind of quiet honesty, those weathered guitars, that gravel‑warm voice, the way he could make a simple melody feel lived‑in and human. Rea never chased trends; he built his own world, one song, one story, one brushstroke at a time. Blue Guitars, Auberge, On the Beach, these weren’t just albums, they were places you could return to, each one shaped by his craft and his stubborn, beautiful independence. Losing him feels like losing a companion on the long road, but the music stays, and that’s where he’ll keep speaking to us.
I am posting the box set Chris Rea – Blue Guitars [2005] I’m posting Blue Guitars because it’s one of those rare projects where an artist goes all‑in on a vision and actually delivers something monumental. Chris Rea didn’t just make an album here, he built an entire blues atlas from the ground up, eleven discs of original material that trace the form from its earliest roots to its modern electric branches. It’s obsessive, handcrafted, and quietly ambitious in a way that fits the spirit of what I like to highlight: music made with intent, depth, and respect for the lineage it draws from. This box set isn’t about hits or nostalgia; it’s about an artist immersing himself in a tradition and emerging with something vast, personal, and beautifully detailed. It earns its place here because it stands as one of the most committed genre explorations ever put to tape.
Blue Guitars was released in October 2005 on Rea’s own Jazzee Blue label in partnership with Edel Records, Blue Guitars is a monumental archival statement—eleven themed CDs, one DVD, and a full-colour hardback book of paintings, lyrics, and liner notes, all housed in an earbook-style box. It’s not a compilation, but a fully original body of work: 137 newly recorded tracks spanning the entire history and geography of blues music, from African roots to modern electric forms. For collectors, it’s one of the most ambitious single-artist blues projects ever issued, with each disc functioning as a standalone concept album.
Rea recorded the set over 18 months, reportedly working twelve hours a day, seven days a week. Each disc explores a distinct blues idiom—Beginnings, Country Blues, Louisiana Blues, Mississippi Blues, Texas Blues, Chicago Blues, Blues Ballads, Gospel Soul Blues, Celtic & Irish Blues, Latin Blues, and 60s & 70s Electric Blues. The sequencing is deliberate, with each volume offering stylistic fidelity and period‑specific instrumentation. Rea plays most instruments himself, using vintage gear and analog techniques to evoke the sonic character of each era.
The accompanying book adds visual and narrative depth, with Rea’s own paintings serving as thematic anchors. The DVD includes a documentary on the making of the project, reinforcing its archival intent. Unlike most blues tributes, Blue Guitars avoids covers and standards; every track is original, written in the style of its respective zone. That makes it not just a homage, but a reimagining—an artist’s attempt to inhabit the form from the inside out. For serious listeners and archivists, it’s a rare example of genre immersion done with integrity, scale, and emotional clarity. (Butterboy)
Chris Rea "Let's Dance"
Woody Guthrie - Columbia River Collection (1988) BPA [Bonneville Power Association] | Zero G Sounds
In May 1941, Woody Guthrie began working for the (BPA) Bonneville Power Administration , a job that required him to write songs to promote developments (dams) on the Columbia River. He would later claim that he wrote a song per day during his month-long association with the BPA, making it one of the most productive periods of his life.
Several of his best-loved songs came from this period, including "Ramblin' Round," "Hard Travlin'," and "Pastures of Plenty." "Columbia River Collection" has two strong points to recommend it. First, it collects all of the available material that Guthrie wrote during this time in one place, giving the collection a thematic unity similar to "Dust Bowl Ballads". Next, it includes 11 versions of the songs originally recorded in Portland, OR, in 1941, and never before released.
This latter quality is "Columbia River Collection"'s strongest point, which makes it seem odd that the liner notes aren't more helpful with sorting out which of the 17 tracks are from these early sessions. It is clear, however, that versions of "Roll on Columbia" and "Roll Columbia, Roll," two favorites, are new. It's also clear that Rounder borrowed the other six songs, including "Pastures of Plenty," from Smithsonian Folkways. The important thing, though, is that the listener can now gain a better view of Guthrie's artistic vision at this important juncture in his career. It also doesn't hurt that "Columbia River Collection" is a strong group of songs that capture the Dust Bowl Balladeer in top form.
(ca. 192 kpbs, front cover included)
- Oregon Trail
- Roll on Columbia
- New Found Land
- Talking Columbia
- Roll Columbia
- Columbia Waters
- Ramblin’ Blues
- It Takes a Married Man to Sing a Worried Song
- Hard Travellin’
- The Biggest Thing that Man Has Ever Done
- Jackhammer Blues
- Song of the Coulee Dam
- Grand Coulee Dam
- Washington Talkin’ Blues
- Ramblin' Roun’
- Pastures of Plenty
- End of My Line
Eric Clapton - (Meet Me) Down At The Bottom [461 Ocean Boulevard] | jt1674
. . . . now I had rather stopped supporting and following (listening at all) to Clapton since his reversion to right wing conspiracy theory type . . . . . . .(sic) but this is from an album bought when it came out and it is a favourite blues classic and theme; the meet me at the bottom storyline fascinates me for some reason. What is the song about?; where is the bottom and why does he need his running shoes?
Put it in your pocket, leave it in your shoe
Plug it in your socket, flush it down the loo (sic?!)
Hey baby, show me something new
Put it in your hat, put it in your can
Feed it to your cat, share it with your band
Hey baby, help me understand
Well they're fighting in the kitchen and they're fighting in the hall
Up against the dark and up against the wall
Why don't you meet me in the bottom, baby, bring your running shoes
which clear childishness is clear cut it’s based on a Willie Dixon number
Well now, baby meet me in the bottom
Bring me my running shoes
Well now, baby meet me in the bottom
Bring me my running shoes
Well, I'll come out the window
I won't have time to lose
When you see me streaking by
Please don't be late
When you see me streaking by
Please don't be late
Well, when you see me moving
Though my life is at stake
Well, I hope you'll see me
When I come streaking by
Well, I hope you'll see me
When I come streaking by
She got a bad old man
You know I'm too young to die
Oh, I got to leave here
Get caught in there
I got to come out and run now
No I ain't gonna do it no more, mister
Which I suggest is quite explanatory and relates to a relationship Clappers was all too familiar with!? (sic!)
1987 Anniversary of Sergeant Pepper’s Lonely Hearts Club Band album BBC ANNIE NIGHTINGALE | Hear Rock City
They've Been Going In And Out Of Style...
BBC Radio One broadcast from 1987.
Titled,"A splendid time was guaranteed for all".
To coincided with 20 years since Sgt. Pepper's was released
and the album on cd for the first time.
Hosted by Annie Nightingale with music and
chat from the main players.
Couple of tape flips,tape rip.
Aprox 1hr 30mins.
Birthdays : Richie Havens - Freedom (Sometimes I feel Like a Motherless Child) Woodstock 1969 | Route books
Richie Havens was born in New York City on this day in 1941. Sometimes he feels like a motherless child.
Once seen and heard never forgotten . . . . . .
Legend . . . . .
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