"Steel Guitar Blues" is the 3rd solo CD release of steel guitar music and 1st all-blues CD release from nationally recognized lap steel guitarist Sterling Koch (pronounced "Cook"). Sterling specializes in playing contemporary Chicago style blues on the lap steel guitar. He has recorded with legendary blues bassist Tommy Shannon (Stevie Ray Vaughan, Johnny Winter) and Grammy nominated drummer Chet McCracken (Doobie Brothers).
Sterling Koch returns with a new album "Let It Slide," the follow up to his very successful 2011 release "Slide Ruler." "Let It Slide" includes 13 songs, 8 originals and 5 covers, of varying blues and blues/rock styles. The cover songs include songs by Elmore James, Doyle Bramhall (I and II) and Rick Vito (Fleetwood Mac) as well as the single "Mercury Blues" by K.C. Douglas. "Let It Slide" features Gene Babula on bass and John Goba on drums taking over for Tommy Shannon (Double Trouble) and Chet McCracken (Doobie Brothers) from the "Slide Ruler" album. Sterling only began to play the lap steel in 2004 as the result of a neck injury, a herniated disk…
Cat Stevens virtually disappeared from the British pop scene in 1968, at the age of 20, after a meteoric start to his career. He had contracted tuberculosis and spent a year recovering, from both his illness and the strain of being a teenage pop star, before returning to action in the spring of 1970 — as a very different 22-year-old — with Mona Bone Jakon.
Tired of a creeping tendency towards pop territory that was happening in his old band, the Yardbirds, Eric Clapton was after one thing alone: the blues. With John Mayall and his pool of fledgling giants he got it in spades.
Between 1970 and 1972, Cat Stevens recorded four albums in the same manner, using the same producer and many of the same musicians, painting the album covers, and assigning the records ponderous titles. Things changed with his next album, Foreigner.
In retrospect, it is not hard to find hints of a coming change in the final album Cat Stevens made before a near-death experience and a religious conversion.
With an outstanding solo quartet and a great chorus and orchestra, Davis leads a sterling performance that challenges the supremacy of his 1966 Philips recording of Messiah. Davis leads a dramatic performance; the famous "Hallelujah" chorus appropriately grand, the final "Amen" bristling with brazen energy, both sung with extraordinary tonal coloring and precise articulation by the chorus, which also shines in a lithe "He shall purify" and a vividly virtuoso "For unto us a child is born." Soprano Susan Gritton's solos are a delight, whether in the measured "Behold, a virgin shall conceive" or her exuberant "Rejoice greatly." The vocal purity of her "I know my redeemer liveth" makes this track a highlight. Alto Sara Mingardo's darker tones are especially moving in her arias and dramatic in "He was despised."