Jimmy Reiter is a guitarist, singer and convincing songwriter, firmly rooted in the tradition of Blues and R&B. For over 10 years Jimmy was lead guitarist with US Blues singer/harmonica player Doug Jay as well as supporting player for numerous international Blues artists on their European tours, such as Larry Garner, Big Daddy Wilson, Albie Donnelly and Memo Gonzalez. In 2011 Jimmy started working under his won name and so far he released two albums. Last month Jimmy and his band received the German Blues Award for Best Band of 2017.
The new release is a miXendorp remix of one of the songs from Jimmy’s latest release. The music is released digital only and available on all the download and streaming platforms. Here are the links to a few popular ones:
Here is what TUNED UP wrote about the new single of ElectroBluesSociety feat Kim Snelten (and we take the aging hippies as a compliment 🙂 ) :
If you’re in the mood for something easy listening but not sleep-inducing, this song hits the spot. I’m not particularly into jam bands but for some reason I got lucky this afternoon when clicking through promo emails. This was the first song in a unread Tuned Up email that popped up, and it’s suiting my Saturday afternoon summer coffee shop mood perfectly. I think this band should play Columbus’ ComFest in the future. All the aging hippies and young guns will love it.
Here is a new video from ElectroBluesSociety recorded live May 2017 in our rehearsel room in Vorden (Netherlands). For this track we are using vocal parts from Electric Chair Blues by Guitar Welch. For handling the camera’s we had assistance from Peter Tump.
When surveying his history and discography it’s quite clear that David Philips is diversely talented enough to make whatever the hell kind of music he wants to make without any outside help, and make it well. So when this British expat who now call Barcelona, Spain his home locked himself up in a studio last winter to make a more-or-less straightforward rock album, it was going to be interesting to see if this singer-songwriter mostly known for stripped down folk hymns could maintain that notion. Winter, now out from Black and Tan Records, does. It’s a fully produced album, but perhaps ‘fully produced’ only by the standards of roots rock. Philips plays all the instruments, as he always does, but there’s more to play: guitars, bass, drums, lead and background vocals. He puts it all together in a mix that resembles a real band, and wrote eight new tunes that have hooks and riffs, leaving just enough space to let his lead guitarist side flourish. The furry analog blare of “Changes” is immediately inviting to ears attuned to seventies classic rock and the grit quickly dismisses any idea that Philips would go commercial. The soul-infused blues-rock “Mary” is a dead ringer for a Doyle Bramhall II cut, and an occasion for Philips to show what he’s got in the hot licks department. He takes a three-chord riff far on “Rich Man” and goes rural with harmonica and acoustic guitar on the eminently catchy “Home.” And then he shows off Hendrix chops with a dash of Bad Company and Stevie Ray Vaughan thrown in on “The One” (video above) as well as on “Running,” while “Your Way” downshifts to a lilting ballad tempo. The album closer “That’s Alright” seems bound to be all about a heavy guitar riff before unexpectedly encountering a soulful psychedelic interlude laced with ace blues chops. Clocking in at a lean half an hour, Winter concludes maybe a little sooner than we’d like, but that running time was par for course in the vinyl age, and it’s much better to have that old feeling even if it means revisiting one of its small limitations. At least I didn’t have to get up to flip the record over in the middle of it. David Philips has again made music without making any concessions.
The Recall is a SciFi thriller about five friends on vacation at a remote lake house where they expect nothing less than a good time, unaware that planet Earth is under an alien invasion and mass-abduction.
The film was released on June 2 this year and they used more then two minutes of the song right at the beginning in one of the opening scenes of the movie.