Blues

Gwyn Ashton - Sonic Blues Preachers (2019)

2019-07-23T14:52:34Z

Gwyn Ashton - Sonic Blues Preachers (2019)


1. She’s what I like
2. Candy store
3. Fool in your life
4. Soul for sale
5. The old fool
6. Take yourself away
7. If I don’t feel it
8. She’s lost her power
9. Waiting game

Gwyn Ashton - guitar, vocals
John Freeman - drums, percussion

Two-piece bands are always fun.

There’s something about them, whether its Royal Blood, or the more earthy sort like White Stripes, or the primal instincts of MV faves, The Picturebooks, there’s usually something interesting about them.

That’s particularly true here, as these nine songs rather prove.

Sonic Blues Preachers is a collaboration between Aussie/Welsh blues man Gwyn Ashton and John Freeman. Freeman was the drummer in a band called “Fraternity”, which featured a chap called Bon Scott who went on to be a touch famous, apparently……

SBP, though do their own dirty deeds – whether they do them dirt cheap you’ll have to ask them. Goodness me, however, whatever they’re preaching seems to be mostly to do with the seven deadlies, and if they’re on their knees, then it ain’t in prayer.

Right from the off of “She’s What I Like” – literally given that the first line is “I got a chick with a kink” – this is fuelled by lust. Like some garage rock take on blues, this has plenty on its mind.

The pair have a chemistry of their own too. Ashton is frequently feted as one of the finest players around – I’ve seen him jam with Walter Trout and it was incredible – and his plugged himself into something positively filthy with these.

“Candy Store” is righteously greasy, “something crazy in the air”, he whispers here. “Coming from you know where…..” and even if you aren’t sure then you can guess. There is a wonderful diversity to the textures throughout. “Fool In Your Life” has a memorable groove, “Soul For Sale” changes the vibe totally, and is more laid back, but even in its brooding there is a suggestion that it could cut loose at any moment.

A key reason for that is that Freeman’s drumming compliments Ashton perfectly, and the swampy brew of “The Old Fool” comes straight from the delta, but is elevated by the rhythms he creates. In many ways, that one contains the key too this whole thing. “This old fool,” sings Ashton, “won’t play the game” and maybe that shines a light on the idea that the duo wanted to push themselves.

“Take Yourself Away” has a 1960’s air. Recalling The Sonics in part, weaving its patterns, while the timeless “I Don’t Feel It” lets its hair down. “If it don’t move me,” it goes, “I am cutting it loose” and there is a real feel that this is from the heart. “She’s Lost Her Power” has a stomp and a bit of soul, but it sounds like its Ashton trying to convince himself that it’s her loss, anyway, and this will show her…..

The collection finishes with “Waiting Game” which has a flavour of the folky, widescreen blues of Mark Knopfler, and it is but another example of the breadth of what this half hour has to offer.

“These two musicians go into a head to head battle” says the details that came with “Sonic Blues Preachers”, and there is a bit of that. But its like Bruce Springsteen used to say: “nobody wins unless everybody wins.” And that’s definitely the case here. ---Andy Thorley, maximumvolumemusic.com

Gwyn Ashton delivers again with his 2019 album Sonic Blues Preachers. Ashton, nearing 60 years-old, tours the world doing one-man, psychedelic, electric blues and intimate acoustic shows. For Ashton’s ninth studio album, he teams up with John Freeman, who started his career alongside Bon Scott in Fraternity. The veteran blues drummer, Freeman, adds a groovy beat to Ashton’s powerful voice and guitar.

Sonic Blues Preachers is a traditional blues interpretation and a dynamic journey through the mind of a man tortured by lust. The album immediately kicks into gear with “She’s What I Like,” a song hinting at the overall theme of the album and filled with Ashton’s dirty feedback as well as one of the best solos on the album. Next up is “Candy Store,” a slower song full of innuendo. Mellow vocals and guitar quicken into a faster, dirty chorus and a rocking solo full of reverb. “Candy Store,” as well as a few songs later in the album, are reminiscent of Led Zeppelin II or Physical Graffiti, this one perhaps a reference to Zeppelin’s “Candy Store Rock.” Impressively, the two band members never leave the listener begging for a bassist as they take turns continuously driving each song forward. Throughout the song ”Soul for Sale,” which immediately calls to Pink Floyd’s somber minor-key tracks and AC/DC’s juicy intros, Ashton’s unique, gritty voice shines.

By the fifth song, “This Old Fool,” monotony begins to set in, but Ashton’s epic slide guitar skills – present throughout the album – are front and center. His solos on almost every song illustrate an ability to incorporate Delta blues with his mean Australian rocker persona. “Take Yourself Away” brings the album back to life, quickening the pace and giving the listener a huge chorus and heavy bass riffs with kicks of treble. Ashton ends Sonic Blues Preachers with two songs, “She’s Lost Her Power” and “Waiting Game” that give the album’s story continuity and a rich blues-roots feel. Throughout the album the listener craves some complexity in the lyrics, yet listening from start to finish is an experience. Again showing his dynamic ability to incorporate old-school sounds into his psychedelia, Ashton’s impressive simultaneous rhythm and bass playing and traditional blues outro in “She’s Lost Her Power” lead into the snare-heavy and cerebral “Waiting Game.” The latter offers a solo that invokes the feeling of lost love and its associated pain.

Ashton and Freeman offer a treat with Sonic Blues Preachers, filling each song with traditional blues and modern effects. Alternating driving bass with fun, bluesy riffs and runs, they give the album impressive instrumentation, complemented by powerful feedback and vocals. This album will be in the running for best blues album of the year, and the two veteran Aussies give hope that they will work together again. ---Spencer Rubin, bluesrockreview.com

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back

Gwyn Ashton - Solo Elektro (2017)

2017-12-23T12:19:58Z

Gwyn Ashton - Solo Elektro (2017)


1. Metaphysical Journey
2. Freedom
3. She Won't Tell Me
4. Dawn Of Tomorrow
5. In Your Blood
6. Please Allow Me
7. Late Night
8. I Guess That's What They Call Love
9. Kind To Be Cruel
10. Shine Lover Shine
11. Metaphysical Journey (Reprise)

Having established himself worldwide as power-house rock-blues guitarist, Anglo/Australian multi instrumentalist Gwyn Ashton has lately been focusing on his song writing, as well as immersing himself in experimental alt.blues rooted psychedelia in a one man band format.

The aptly named ‘Solo Elektro’ is full of the kind of buzz tone, psychedelic drone meets stoner rock that has led to a younger audience pitching up at his gigs. Together with his Melbourne based songwriting partner Garry Allen, he effectively restates of some of his extant influences, while exploring new musical directions that gives him much more freedom from the restrictive expectations of the blues rock market.

Gwyn describes Solo Elektro thus: “A Psychedelic, stoner blues rock album with a difference. It was recorded by one guy with a guitar, vocal mic, bass drum and octave divider – 100% live.”

And it’s that sense of spontaneity with a melange of guitar tones and a one take vibe that gives this album its rarefied organic feel. He top and tails a wide ranging album with the psychedelic drone style mantra of ‘Metaphysical Journey’ and ‘Metaphysical Journey (Reprise)’. It’s not so much a coherent musical journey, as a series of linked audio sketches threaded together by an ever changing musical canvas shaped by the moment. A song is often sparked by a riff, an essential guitar tone, a vocal phrase or even a groove, but the fact there’s no safety net makes for a sense of immediacy too often lacking in over produced albums.

There’s a tableaux of mood changes and plenty of contrast as his psychedelic muse weaves itself in and out of the tracks. ‘Dawn of Tomorrow’ for example, is one of the best tracks on the album, being a tad more restrained with a gentle opening guitar figure, echo laden vocals and an ethereal feel that matches the album as a whole. It’s a spacey track with a late 60’s psychedelic feel before a sudden tempo change as he jams his way to an acapella finish.

Gwyn apparently set up a mobile studio in 3 separate hotel rooms while on tour and treated his lap top like a tape machine. Being a one man band takes a lot of coordinating, especially when you envelop yourself in the growling buzz tone, and the kind of psychedelic wall of sound that makes ‘Freedom’ sound like something from a 60’s garage band.

Were it not for the growling guitar tone it could almost mark the era when bands like The Pretty Things moved over from R&B to prog and psychedelia. It also emphasizes the durability of the impact The Beatles made with ‘Revolver’.

Either way, Gwyn works up a head of steam with some feverish guitar work and a chanted hook that acts like mantra. The great thing about this music is that it spans decades. There’s the ‘can do’ spirit and song writing sensibilities of Jack White and also The Black Keys, but there’s also some timeless retro influences that still evoke a time when the counter culture led to social change.

‘Into Your Blood’ is different again, being a slide-led bluesy stomp full of bluster, while in sharp contrast he veers towards minimalism on ‘Late Night’, as the atmospheric feel of the track cleverly evokes the song title.

You suspect the overall musical direction and varied tones are a function of instruments and technology at his disposal. There are subtle changes of tone colour, tempo shifts, and gnawing riffs buried deep in a post psychedelic Phil Spector style wall of sound. He often delivers his vocals in unison with his guitar lines, mirroring the fact he needs to keep a consistent rhythm. It all adds to a certain muscularity of approach that lies at the core of music. He chases a vibe and reaches for an eclectic quality that draws on the blues, but is never hemmed in by it, as he explores his muse adventurously.

Listen for example, to the shuffle driven ‘Please Allow Me’ on which he works towards a Howlin’ Wolf like growl on the other side of some spiky guitar work.

Best of all, is the way the albums flows and each track makes a sufficient impact to draw the listener into the next effort. And it’s that between song tension that Gwyn cleverly exploits and subsequently resolves on a bunch of songs that never settle for the clichéd or mundane. He reveals some of his formative influences on the echo reverb intro of ‘Kind To Be Cruel’ – which fuses a Beatles circa ‘Abbey Road’ feel with Peter Green’s ‘Green Manalishi’ on a song that ultimately moves into heavier domain as he fuses Sabbath with stoner rock.

If you’ve never heard Gwyn Ashton before listening to this album, you’d swear he’s part of an underground contemporary scene you might have missed. The fact he’s been round the block a few times and is able to take his recording career in such a radically different direction speaks volumes about his adventurous spirit and musical vision.

‘Solo Elektro’ flies the flag for a psychedelic indie blues artist who is only truly happy when he finds new exciting outlets for his oeuvre. It’s an album shot through with raw, brash, kick-ass psychedelic tinged stoner rock with a blues heart and is worthy of your attention. ---Walter Trout, getreadytorock.me.uk

download (mp3 @320 kbs):

yandex mediafire uloz.to gett< solidfiles

back

Gwyn Ashton – Two-Man Blues Army (2009)

2011-09-22T18:46:10Z

Gwyn Ashton – Two-Man Blues Army (2009)


1. Meltdown At The Hoo 2:28
2. Break 4:23
3. Million Dollar Blues 5:26
4. Cross Road Blues 5:34				play
5. Mad Dog 3:28
6. All Over Now 3:31
7. Outside Woman Blues 4:20
8. Junior Got A Blade 3:50
9. False Accusations 2:46
10. Ain't Nobody's Fool 7:04
11. One Way Ticket To The Blues 8:30
12. Million Dollar Blues (Radio Edit)	play


Gwyn Ashton - Arranger, Composer, Guitar, Harmonica, Producer, Vocals
David Small - Drums, Percussion

`Two-Man Blues Army' has to be Gwyn Ashton's best work to date. I LOVE this crossover psychedelic blues-rock album, its huge feel-good factor and its live gig vibe. How two guys manage to whip up such an infectious musical frenzy I can't imagine. The two-man army format leaves plenty of room for these modern-day blues soldiers to explore new sonic territories without the restrictions that come with a three-piece combo. The slide guitar is monstrously awesome, the vocals wonderfully gritty, deep-reaching and heartfelt. This album belongs most definitely to the 21st century, but also pays its dues to the traditional end of the blues genre (exemplified by 'Junior Got a Blade', a mean acoustic track on resonator guitar and a social commentary on teenage knife crime). It's all original materials apart from two covers #`Crossroads Blues' and `Outside Woman Blues'#, which have both been given the very distinctive Ashton treatment and brilliantly transformed in the process. `Outside Woman Blues' has simply been turned into the most danceable blues track EVER in my opinion! Overall, I'd be hard pushed to choose a favourite track, but I'll give a very special mention to `One Way Ticket to the Blues', a haunting, wailing killer number with plenty of goose-pimple quality, which grabs you by the soul.

Two-Man Blues Army provides such a welcome, refreshingly invigorating contrast to albums released by too many dreary would-be Stevie Ray Vaughan clones out there purporting to represent modern blues "no wonder that SRV is a source of inspiration to many guitarists, but the point in attempting to copy him note for note, I'll never begin to fathom."

Gwyn Ashton doesn't sound like anyone else. He has developed his own identity with plenty of light and shade, and is not afraid of playing outside the mould. If you don't like predictable blues, this is your guaranteed antidote! And I'm delighted to read that Guitarist magazine #Oct issue# shares my opinion about Two-Man Blues Army! ("It's a raucous sounding album that has plenty of credibility in a modern blues market full of mediocrity - one army we'd be happy to join") ---Pixiebells, amazon.com

download (mp3 @192 kbs):

yandex mediafire ulozto gett solidfiles hostuje

back

Gwyn Ashton – Prohibition (2006)

2011-09-20T08:51:41Z

Gwyn Ashton – Prohibition (2006)


1. Ball And Chain (6:25)
2. Ain't My Style (3:45)
3. Get Up Get Over It (4:02)
4. Prohibition (5:13)						play
5. Road Is My Religion (5:00)
6. Secret Agent (5:55)
7. Come On Don't Walk Run (4:05)			
8. Castaway (3:37)
9. Back To You (3:56)
10. Are You Lonely (4:20)					play
11. Guitar Town (4:07)
12. Rest In Paradise (For Stevie) (7:57)

Don Airey 	- Guest Appearance, Organ, Piano
Gwyn Ashton - Composer, Guitar, Harmonica, Producer, Sitar (Electric), Vocals
Chris Glen 	- Bass, Cymbals, Producer, Vocals (Background)
Ted McKenna - Drums, Percussion, Producer, Vocals (Background)

South Australia's greatest contribution to blues-rock continues his prolific devotion to old-school '70s boogie with Prohibition. A player in the Texas tradition of Johnny Winter and Stevie Ray Vaughan (who gets a tributary ballad, "Rest in Paradise"), Gwyn Ashton isn't afraid to add a little Jeff Beck (as on the distorted Yardbirds riffing on the cover of Rory Gallagher's "Secret Agent") or even a touch of Hank Marvin (the twangy "Come On/Don't Walk Run!") when necessary, and given the list of instruments in the liner notes, he's a big believer in the concept that different guitars and effects pedals are necessary for different sounds. But by album's end, all of that variety leads the listener to think that Ashton is a very gifted stylist with a good line in mimicry but little in the way of personal expression. Die-hard blues-rock aficionados will likely appreciate Prohibition, but some might find it slightly disappointing. --- Stewart Mason, allmusic.com

download (mp3 @192 kbs):

yandex mediafire ulozto gett solidfiles hostuje

back

Gwyn Ashton – Fang It! (2000)

2011-09-17T08:32:48Z

Gwyn Ashton – Fang It! 2000


1	Breakin' All the Rules		
2	Living on a Fault Line			
3	Getting on Down			
4	How Can I Leave You (If You're Gonna Come Too?)			
5	Getting Better		
6	Cold As Ice (Tribute to Albert Collins)		
7	Leave That Girl Alone						play		
8	Hot In Here		
9	I Boogied			
10	Who's That Coming?			
11	Faded Memory								play

Gwyn Ashton (vocals, guitar); 
Dennis Greaves (vibraphone, background vocals); 
Brendan O'Neill (drums); 
Gerry McAvoy (background vocals).

Gwyn Ashton was born in Wales and grew up in Adelaide, South Australia. His guitar playing was first inspired by musicians from the Australian scene, such as Chris Finnen, Kevin Borich and Ian Moss, along with favourites Chuck Berry, and Hank Marvin. In 1985, Gwyn moved to Sydney to join John Swan's band Swanee, and by 1986 he had teamed up with ex-Easybeats vocalist Stevie Wright and members of Jimmy Barnes's band. Malcom Young's nephew James played drums with Gwyn for a time and introduced him to Mal, who came to several of Gwyn's gigs before resuming his tour dates with AC/DC.

Gwyn spent most of the Eighties playing in almost every bar in Australia, impressing many international musicians, including Mick Fleetwood, who sat in with Gwyn's band one late night in Adelaide. His power trio has opened in Australia for Rory Gallagher, Junior Wells, Steve Morse and Albert Lee and in Europe for Buddy Guy, Peter Green, Dr Feelgood, Canned Heat, Nine Below Zero and many others. In October 1999, his first UK release was followed by 15 concerts on tour with Status Quo, including dates at Wembley Arena and Birmingham NEC.

Gwyn Ashton recorded his second album "Fang It!" at Matrix Studios in London with ex-Rory Gallagher sidemen Gerry McAvoy on bass and Brendan O'Neill on drums. The album was produced by Nine Below Zero's Dennis Greaves and engineered by Kenny Jones (Oasis, Robbie Williams...). Gwyn Ashton composed ten of the eleven songs on "Fang It!" which reveals his immense talent as a musician and songwriter. The rendition of Rory Gallagher's "Who's That Coming" is the ultimate tribute to the great Irish musician, recorded with Gerry and Brendan, Rory's killer rhythm section.

"Fang It!" showcases all aspects of Gwyn Ashton's talent: from hard-rocking tracks "Breakin' All The Rules", "I Boogied", "Getting Better" and "How Can I Leave You", which are packed with energy, and are indicative of the band's powerful performances on stage, to slower blues/jazzy songs such as "Hot in Here", which are steeped in the greatest of musical authenticity. Gwyn also shines on the closing acoustic number "Faded Memory", with soulful, emotion fuelled vocals. "Fang It!" promises to be an even bigger showstopper than Gwyn's critically acclaimed debut album "Feel the Heat", acknowledging Gwyn as one of the fastest rising guitarists on the rock/blues scene today. ---cduniverse.com

download (mp3 @192 kbs):

yandex mediafire ulozto gett solidfiles hostuje

back

Gwyn Ashton – Wanted Man (1997)

2011-09-15T18:40:32Z

Gwyn Ashton – Wanted Man 1997


1. Trouble's Knockin' At Your Door (4:32)
2. Double Crossin' Mama (4:02)
3. Wastin' My Time (5:21)
4. Ain't Got Time For That Stuff (3:48)
5. Wanted Man (5:05)					play
6. Just A Little Bit (4:15)
7. The Sun Don't Shine (3:22)
8. Leaving In The Morning (4:16)
9. Can't Get My Way Around You (3:01)
10. Bad Luck Blues (2:55)
11. Stop Holding Out (3:04)
12. I Can't Be Satisfied (3:24)			play
13. Wastin' My Time Unplugged Version (4:33)
14. We'll Find A Way (4:07)

Gwyn Ashton 	- Guitar, Harmonica, Mandolin, Producer, Vocals
Chris Farmer 	- Double Bass
Anthony Harkin  - Harmonica
Colin Mack` 	- Harmonica
Mick O'Connor 	- Organ (Hammond), Piano
Adam Quaife 	- Organ (Hammond), Producer
Rick Tredrea 	- Drums, Percussion, Vocals (Background)

Blues guitarist, singer, and songwriter Gwyn Ashton was born in Wales and raised in South Australia. At an early age he developed a love for blues and rock music that was fueled as a result of recordings by renowned artists like Chuck Berry, Jimi Hendrix, Buddy Holly, Rory Gallagher, Muddy Waters, and many others.

At the age of 11, Ashton picked up his first guitar and began the chore of learning to play the instrument. His natural talent didn't take long to show through. When he was a teenager, he teamed up with a couple of friends to form his first professional band. He stood in as frontman. The little group often managed to land jobs at local blues clubs and bars. After building a small fan base and landing some positive press, Ashton took his act on the road across Australia. He also spent time serving as a member with other groups now and then.

In 1993, Ashton finished recording his debut album, Feel the Heat. It took three long years before his sophomore full-length offering, Beg, Borrow and Steel, was released. By now he was touring and performing in countries worldwide, including finding a market in the United States for his slide guitar-filled blues-rock. Some of the musicians who have been part of his recording band along the way include drummers Brendan O'Neill, Rick Tredrea, and Michael Wiedrich; along with bassists Geoff Brown, Sambor Kansy, and Gerry McAvoy. --- Charlotte Dillon, All Music Guide

download (mp3 @192 kbs):

yandex mediafire ulozto gett solidfiles hostuje

back

Gwyn Ashton – Feel The Heat (1993)

2011-09-14T18:43:18Z

Gwyn Ashton – Feel The Heat (1993)


1. Too late
2. Loaded 6 shooter
3. Troubles knockin at your door
4. Just a little bit
5. We'll find a way					play
6. Take me back home				play
7. Ain't got time for that stuff
8. Wanted man
9. Bad luck blues
10. Wasting my time
11. Someone like you

Gwyn Ashton 	- Guitar, Harmonica, Mandolin, Producer, Vocals
Geoff Brown 	- Bass
Colin Mack 	- Harmonica
Adam Quaife 	- Engineer, Mixing, Organ (Hammond), Producer
Rick Tredrea 	- Drums, Percussion, Vocals (Background)

Gwyn Ashton was born in Wales and grew up in Adelaide, South Australia. His guitar playing was first inspired by musicians from the Australian scene, such as Chris Finnen, Kevin Borich and Ian Moss, along with favourites Chuck Berry, and Hank Marvin. In 1985, Gwyn moved to Sydney joining John Swan's band Swanee, and by 1986 he had teamed up with ex-Easybeats vocalist Stevie Wright and members of Jimmy Barnes's band. Malcom Young's nephew James played drums with Gwyn for a time and introduced him to Mal, who came to a few of Gwyn's gigs before resuming his tour dates with AC/DC. Gwyn spent most of the Eighties playing in almost every bar in Australia impressing many international musicians, including Mick Fleetwood, who sat in with Gwyn's band one late night in Adelaide.

Gwyn Ashton, 38, displays his experience in his debut album, "Feel the Heat". This guitar virtuoso is one of the most promising talents of the new "classic" Rock scene, succeeding Albert Lee, Jimmy Page and Rory Gallagher. His power trio has opened in Australia for Rory Gallagher, Junior Wells, Steve Morse and Albert Lee and in Europe for Buddy Guy, Peter Green, and many others.

"Feel the Heat" showcases all aspects of Gwyn Ashton's talent: from hard-rocking tracks "Loaded 6 Shooter", "Ain't Got Time For That Stuff", "Wanted Man" and "Too Late", which are packed with energy, and are indicative of the band's powerful performances on stage, to slower blues songs such as "Someone Like You", which are steeped in the greatest of musical authenticity. Gwyn also shines on the acoustic numbers "Bad Luck Blues" and "Take Me Back Home", with soulful, emotion fuelled vocals.

Gwyn Ashton composed all songs on "Feel the Heat", which reveal his immense talent as a musician and songwriter. --- cdbaby.com

download (mp3 @320 kbs):

yandex mediafire ulozto gett solidfiles

back

Gwyn Ashton – Beg Borrow and Steel 2001

2011-04-10T09:17:35Z

Gwyn Ashton – Beg Borrow and Steel (2001)


1. The Sun Don't Shine (3:22)
2. Ain't Got Time For That Stuff (2:52)
3. I Can't Be Satisfied (3:25)			play
4. Leaving In The Morning (4:16)
5. Double Crossin' Mama (4:04)
6. Wastin' My Time (4:32)
7. Uluru Sunset (2:38)
8. Train Time Shuffle (5:24)
9. Can't Get My Way Around You (3:01)
10.Stop Holding Out (3:04)
11.Sweet Love (3:14)					play

Gwyn Ashton (vocals, guitar, harmonica); 
Chris Farmer (upright bass); 
Ken Farmer (drums), 
Anthony Harkin (Harmonica)

Gwyn spent most of the Eighties playing in almost every bar in Australia, impressing many international musicians, including Mick Fleetwood, who sat in with Gwyn's band one late night in Adelaide. His power trio has opened in Australia for Rory Gallagher, Junior Wells, Steve Morse and Albert Lee and in Europe for BB King, Buddy Guy, Peter Green, Dr Feelgood, Canned Heat, Nine Below Zero, Dan Baird and many others. In October 1999, his first UK release was followed by 15 concerts on tour with Status Quo, including dates at Wembley Arena and Birmingham NEC.

Gwyn Ashton delivers a powerful yet bluesy Rock, with country and jazz influences. His guitar playing varies from the wild to the colourful or gentle, and offers a fantastic and diverse range of melodies. Each of his notes comes alive with a unique touch, which mixes Blues techniques, sheer power and the musical influence of his country of origin. Gwyn Ashton's second album "Fang It!", produced by Nine Below Zero's Dennis Greaves and recorded with ex-Rory Gallagher sidemen Gerry McAvoy on bass and Brendan O'Neill on drums, established Gwyn as one of the most promising guitarists on today's rock/blues scene.

"Beg, Borrow & Steel" was recorded in Australia, mostly with acoustic instruments, live in the studio in 12 hours and is a journey back to the roots of Gwyn Ashton's music: Gwyn shines on slide guitar, with most of the tracks played on a 1936 National steel guitar. His all-Australian backing band provides just the right touch of harmonica, double bass, piano, Hammond organ and drums (with brushes, natch!) to help create an album steeped in the ultimate musical authenticity and yet incredibly varied .

The majority of "Beg, Borrow & Steel"'s tracks are self-penned, with the exception of Gwyn's stand-out version of Muddy's "I Can't be Satisfied". From the up-tempo train song "Train Time Shuffle" to the beautiful instrumental "Uluru Sunset" or the laid back delta blues "Leaving in the Morning", Gwyn Ashton confirms his exceptional talent both as a songwriter and a performer.”

download (mp3 @192 kbs):

yandex mediafire ulozto gett solidfiles hostuje

back