muzycy:
Elliott Sharp: guitars, tenor saxophone
Lance Carter: drums
Curtis Fowlkes: trombone
Alex Harding: baritone saxophones
David Hofstra: bass
Eric Mingus: vocals
Tracie Morris: vocals
Hubert Sumlin: guitar

Editor's info:
Do The Don�t (released for the first time in Europe, with five bonus works) is an indispensable gem for every blues fan who regards this music as more than a nostalgic trip to an imaginary past. Blues with the full potency of the early twenty-first century. A classic.

Blues as nostalgic roots music? No way! A blues avant-garde formed in the US some time ago which sensitively incorporates the achievements of tradition and transforms them into an aggressive music of the future. They need neither computers nor any other electronic means, but can build on the resources and repertoire of classical blues. Before acts like Hazmat Modine, the Black Keys, and Son Of Dave developed their future blues, it was first of all New York guitarist Elliott Sharp who made new audiences aware of electronically amplified blues. With his band Terraplane, he has been opening up new paths for the blues since the mid-1990s. His 1994 debut album Terraplane, which was recorded when the group was still a trio, is probably the most efficient synthesis of blues and punk in recent rock history. Do The Don't, Sharp's classic of the blues avant-garde, is now finally available in this part of the world.

When Do The Don't was released in the US in 2004, the New York scene was in a coma. The aftereffects of 9/11 were still perceptible everywhere. No one wanted to risk coming out from under cover and possibly making his statement a moment too soon. The confusion and lethargy were as great as the fear of misunderstandings. In the atmosphere of general numbness, Elliott Sharp was one of the first to speak out clearly and unequivocally. Do The Don't was a commentary on the state of the union. The album had the effect of a whip. Songs like "Lost Souls," "Stop That Thing," and "Oil Blues" wrenched the blues from the retro camp and restored its subversive friction. Ten years after its first album, Terraplane had developed into urban blues guerillas wh.......
more

Editor's info:
Do The Don�t (released for the first time in Europe, with five bonus works) is an indispensable gem for every blues fan who regards this music as more than a nostalgic trip to an imaginary past. Blues with the full potency of the early twenty-first century. A classic.

Blues as nostalgic roots music? No way! A blues avant-garde formed in the US some time ago which sensitively incorporates the achievements of tradition and transforms them into an aggressive music of the future. They need neither computers nor any other electronic means, but can build on the resources and repertoire of classical blues. Before acts like Hazmat Modine, the Black Keys, and Son Of Dave developed their future blues, it was first of all New York guitarist Elliott Sharp who made new audiences aware of electronically amplified blues. With his band Terraplane, he has been opening up new paths for the blues since the mid-1990s. His 1994 debut album Terraplane, which was recorded when the group was still a trio, is probably the most efficient synthesis of blues and punk in recent rock history. Do The Don't, Sharp's classic of the blues avant-garde, is now finally available in this part of the world.

When Do The Don't was released in the US in 2004, the New York scene was in a coma. The aftereffects of 9/11 were still perceptible everywhere. No one wanted to risk coming out from under cover and possibly making his statement a moment too soon. The confusion and lethargy were as great as the fear of misunderstandings. In the atmosphere of general numbness, Elliott Sharp was one of the first to speak out clearly and unequivocally. Do The Don't was a commentary on the state of the union. The album had the effect of a whip. Songs like "Lost Souls," "Stop That Thing," and "Oil Blues" wrenched the blues from the retro camp and restored its subversive friction. Ten years after its first album, Terraplane had developed into urban blues guerillas wh.......
more